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Artistic  Retoucliing, 

Modeiing,  Etching, 

AH:  and  Nature, 

Art  and  Photography, 

Character,  Chiaroscuro, 

Composition, 

Style  and  Individuality, 


I 


BY 


Clara  Weisman. 


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Digitized  by  tine  Internet  Arciiive 

in  2011  witii  funding  from 

Researcii  Library,  Tine  Getty  Researcii  Institute 


http://www.archive.org/details/treatiseonartistOOweis 


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The  Author 


A  COMPLETE  TREATISE 


ON 


Artistic  Retouching, 

Modeling,   Etching, 

Art  and  Nature,  Art  and  Photography,  Char- 
acter, Chiaroscuro,  Composition,  Style 
and  Individuality. 


BY 


CLARA  WEISMAN. 


PUBLISHED  BY  H.   A.   HYATT,   SAINT  LOUIS. 


Entered  according  to  act  of  Congress,  in  the  year  1903,  by 
Clara  Weisman,  in  the  of&ce  of  the  Librarian  of  Congress,  at 
Washington. 


THE  GETTY  CENTfHP 
LIBRARY 


CONTENTS. 


PAGE. 

Chapter  I.  — Introduction 1 

Chapter  II.  —Tone  Values 5 

Chapter  III.  —Preliminaries  to  Retouching 9 

Chapter  IV.  —Necessities  for  Retouching 13 

Chapter  V.  — What  is  Retouching 17 

Chapter  VI.  — Reasons  for  Retouching 19 

Chapter  VII.        —Little  Things 26 

Chapter  VIII.       —Texture 31 

Chapter  IX.          —Perspective  39 

Chapter  X,  —Difficulties  and  Imperfections 43 

Chapter  XI.  —Modeling 46 

Chapter  XII.        —The  Forehead 49 

Chapter  XIII.       —The  Cheek 57 

Chapter  XIV.      —The  Eye 61 

Chapter  XV.         —The  Nose 69 

Chapter  XVI.       —The  Mouth 76 

Chapter  XVII.     —The  Chin 80 

Chapter  XVIII.    —The  Cheek  in  Shadow 83 

Chapter  XIX.       —The  Ear 86 

Chapter  XX.         —Neck,  Bust,  Arms  and  Hands 88 

Chapter  XXI.       —Shadow  Lightings 91 

Chapter  XXII.     -The  Hair 94 

Chapter  XXIII.    —Drapery 96 


iv  CONTENTS— Continued. 

PAGE. 

Chapter  XXIV.    —Etching 97 

Chapter  XXV,     — Stumping  Negatives 100 

Chapter  XXVI.    —Spotting  Negatives 103 

Chapter  XXVII.  —View  Negatives 106 

Chapter  XXVIII.— Art  and  Nature 107 

Chapter  XXIX.    —Art  and  Photography 113 

Chapter  XXX.     —Character 118 

Chapter  XXXI.   —Chiaroscuro,  or  Light  and  Shade, 123 

Chapter  XXXII.  —Composition 133 

Chapter  XXXIII. —Style  and  Individuality 150 


"ctn 


ARTISTIC   RETOUCHING.  1 

CHAPTER  I. 

INTRODUCTION. 

'T'HE  nature  of  this  little  book  may  be  explained  in 
a  few  sentences.  My  theme  is  Artistic  Retouch- 
ing, Modeling,  Etching,  with  chapters  on  Art,  for 
the  reason  that  Photography  and  Art  can  be  closely 
united. 

My  intention  is  to  be  beneficial  to  those  who  know 
little  or  nothing  of  the  subject,  also  to  assist  those  ad- 
vanced in  retouching;  to  carry  the  work  into  the  ar- 
tistic. Should  I  find  the  book  has  accomplished  such 
a  purpose,  my  efforts  will  not  have  been  in  vain. 

However,  books,  lectures,  or  theories  cannot  make 
a  retoucher  or  an  artistic  photographer,  but  with  much 
application  and  much  study,  with  a  comprehensive 
knowledge  of  what  others  have  done,  one  can  acquire 
practical  understanding,  good  judgment  and  refined 
taste.  In  all  art  notes  or  art  principles,  wherever 
found,  reading  and  re-reading  alone  make  these 
thots  and  principles  a  part  of  one's  self,  even  tho 
the  thot  is  beyond  recall  of  expression  in  words,  it  un- 
consciously finds  its  feeling  or  expression  brot  out  in 
a  picture  here  or  there.  This  is  the  true  growth  of  an 
artist  in  feeling  and  ability. 

The  methods  and  ideas  put  forth  in  this  book  may 
not  be  the  ideas  of  perhaps  the  reader,  and  if  its  lan- 
guage sounds  at  all  positive  or  dictatorial,  it  is  done  in 
all  modesty  of  spirit,  having  herein  placed  my  personal 
best  efforts  and  my  own  individuality  and  style.    That 


2  ARTISTIC   RETOUCHING. 

such  a  subject  is  hard  to  deal  with  in  this  manner  is  par- 
tially evident  from  the  fact  that  such  a  few  have  at- 
tempted a  full  treatise  on  the  subject.  Where  such 
little  of  the  artistic  is  known  among  the  masses  of 
photographers  or  camera  students,  a  book  of  this  na- 
ture could  not  be  amiss.  I  feel  a  competency  to  under- 
take such  a  work  as  this,  having  taken  a  course  of 
several  years  at  two  of  the  best  art  schools  in  the  U. 
S.,  namely,  St.  Louis  and  New  York  City,  receiving  as 
a  result  of  my  studies  two  medals  for  best  drawings 
and  best  portraiture  in  oil  colors  from  life,  together 
with  mentions.  For  the  past  three  years  I  have  held 
a  position  as  Instructor  in  Retouching  at  the  Illinois 
College  of  Photography  in  connection  with  talks  given 
on  Art. 

Feeling  the  artistic,  one  is  able  to  understand  more 
clearly  artistic  retouching  and  its  necessity  in  portrait- 
ure. A  knowledge  of  art  is  beyond  question  very  help- 
ful. There  is  something  more  and  far  beyond  technical 
skill.  Retouching  is  without  question  a  fact ;  and  it 
may,  without  fear  of  falling  too  far  from  the  truth,  be 
said  to  have  revolutionized  portraiture. 

In  the  first  place,  the  end  and  aim  of  photography 
is  to  please,  in  other  words,  to  make  beautiful.  All  na- 
ture tends  toward  the  ideal,  perfection ;  all  human 
efforts  should  be  to  the  ideal.  Pictures  when  made  at 
their  best  and  highest  are  the  most  beautiful  things  man 
can  produce.  They  are  the  life  of  the  individual,  leav- 
ing here  an  impression,  there  an  impression  of  his  in- 
ward self,  brot  out  in  his  productions.  The  higher 
our  ideals,  the  better  our  work.  A  photographer  must 
learn  to  love  the  beautiful,  must  be  able  to  know  what 


ARTISTIC   RETOUCHING.  3 

beauty  is,  not  only  "skin-deep"  beauty,  but  beauty  of 
line,  composition,  expression ;  to  be  able  to  catch  the 
seemingly  accidental  in  nature,  the  impressions  which 
are  fleeting,  the  things  of  but  a  moment's  existence. 
To  be  a  successful  photographer,  one  must  be  able  to 
see  and  to  know  what  beautifies  and  what  does  not, 
which  is  by  no  means  a  small  undertaking. 

Too  many  are  but  too  well  satisfied  with  their  pro- 
ductions if  they  contain  merely  the  features,  the  nose, 
the  mouth,  the  eyes  and  so  on,  without  much  thot,  as  to 
expression^QEji^onigosition.  This  applies  not  alone  to 
work  in  the  studio,  but  to  retouching.     How  many 

thereaTe_,.2iHb^XO}i!id_oilt^..Sl^  ^^^ 

all  chins  alike,  not  knowing  or  seeing  the  beauty  they 
destroy.  No  two  foreheads  are  alike,  no  two  ceeks  and 
no  two  chins.  Nature  must  be  interpreted,  but  it 
cannot  be  interpreted  until  one  knows  what  nature  is. 
Neither  can  true  beauty  be  known  'till  one  knows  what 
beauty  is.  The  closer  one  gets  to  nature,  the  nearer 
one  is  to  the  Infinite.  This  may  seem  useless  material 
for  the  introductory  part  of  a  book  on  Retouching,  but 
to  the  writer  much  is  meant  by  these  lines. 

Be  always  very  careful  to  keep  a  likeness,  but  ideal- 
ize it.  All  subjects  wish  pictures  of  themselves  at  their 
best,  the  more  beauty  that  is  found  and  bestowed,  the 
better.  Even  so  in  those  that  say,  "Take  me  just  as  I 
am."  No  subject  ever  wishes  a  picture  taken  to  a  dis- 
advantage, but  he  never  objects  to  one  that  is  at  his  best 
or  even  better,  no  matter  how  homely  the  creature,  a 
certain  vanity  lurks  within  his  bosom. 

The  ideal  is  constructed  or  taken  out  of  the  real, 
from  what  actually  exists.     Objects  are  the  tools ;  the 


4  ARTISTIC   RETOUCHING. 

soul,  the  expression,  the  composition  is  the  rest,  the 
ideal  or  the  beautiful. 

The  retoucher  is  a  go-between,  between  the  begin- 
ning of  a  picture  and  the  finishing.  The  retouching- 
proper  should  begin  in  the  studio,  then  it  hangs  in  the 
balance  as  to  the  result  the  dark-room  man  will  pro- 
duce; for  a  negative  may  be  properly  lighted  and  ex- 
posed and  if  not  properly  handled  with  the  chemicals, 
the  retoucher  and  often  the  finisher  must  come  to  the 
rescue.  A  result,  however,  which  is  not  as  artistically 
beautiful  as  'twould  have  been  had  it  undergone  proper 
handling  in  the  other  departments. 


ARTISTIC   RETOUCHING.  5 

CHAPTER  11. 

TONE — VALUES. 

T  ET  us  return  to  the  studio,  where  much  can  be  done 
to  save  retouching.  Photographers  at  the  present 
time  depend  too  much  on  their  retouchers,  instead 
of  on  their  own  personal  skill  as  operators.  The  pho- 
tographer who  uses  great  care  in  the  lighting  and  tim- 
ing, lessens  "much  retouching."  Some  operators  pre- 
fer doing  their  own  retouching,  fearing  to  trust  it  to 
others,  they  knowing  best  the  results  they  desire,  knov/- 
ing  best  what  to  do  to  bring  about  these  ends.  In 
fact,  the  result  would  be  a  much  higher  grade  of  work, 
if  the  operator  did  his  own  operating,  developing  and 
retouching,  and  even  for  the  higher  class  work  make 
his  own  prints,  mount  and  frame,  complete. 

Under  the  present  conditions,  it  would  seem  that 
the  retoucher  is  a  more  important  factor  than  the 
operator  from  the  seemingly  careless  work  that  is  brot 
out  under  the  sky-light. 

The  first  consideration  in  good  operating  is  regard 
for  tone-values,  values  of  light  and  shade.  We  may 
ask,  "What  are  values?"  To  begin  with,  take  a  sub- 
ject under  the  sky-light,  three-quarter  view  of  the  face, 
plain  light.  Look  at  the  brightest  looking  flesh  notes 
on  the  nose,  forehead,  cheek,  lip  and  chin,  on  the  side 
of  the  face  nearest  the  source  of  illumination.  On  a 
well  lighted  subject,  the  brightest  light  is  often  on  the 
bridge  of  the_nose^nearer  to.  the  side  from  which  the 
source  of  light  comes.     Sometimes  the  highest  light  is 


6  ARTISTIC   RETOUCHING. 

on  the  forehead,  due  partially  to  its  prominences  and 
form.  There  are  usually  four  high  Hghts  on  the  fore- 
head, three  of  which  are  most  frequently  secondary  to 
the  highest.  The  highest  light  on  the  cheek  is  located 
on  the  cheek-bone.  The  light  on  the  lip  and  chin  are  in 
a  lower  key.  If  light  exists  on  the  shadow  cheek,  it  is 
in  a  lower  tone  than  that  on  the  other  cheek,  or  it  is 
simply  a  suggestion  of  light.  From  these  lights,  no- 
tice the  flesh  is  somewhat  duller,  and  on  the  other 
side  of  the  face,  around  the  throat  and  the  sides  of  the 
neck,  the  shadows  deepen  the  flesh-notes.  Compare 
the  high  lights  with  the  next  lower  tones  and  those 
with  the  side  of  the  cheek  or  neck  and  there  will  be 
found  three  grades  of  tone-values,  namely,  high-lights, 
half-tones  and  shadows.  These  same  values  are  also 
strongly  marked  in  the  drapery,  the  hair,  the  hand, 
in  fact,  in  any  object.  A  very  helpful  way  to  look  for 
^1  tones  is  to  half  close  the  eyes,  standing  at  some  little 
distance  from  the  subject. 

Value  is  Ihe  quantity  of  light  or  dark  in  nature  or 
in  a  picture.  These  values  may  be  either  in  a  high  key 
or  a  low,  but  whether  a  high  or  a  low  there  must  be  a 
perfect  balance  of  tone-values.  To  obtain  a  picture 
containing  brilliancy  and  at  the  same  time  a  beautiful 
balance  of  gradations  is  of  the  greatest  importance. 
Harmony  must  prevail.  Half-tones  or  half-lights  and 
half-shadows  are  the  greatest  harmonizers.  They  unite 
the  high-lights  with  the  depth  of  the  shadows.  The 
result  is  an  artistic  production  as  far  as  lighting  is  con- 
cerned. This  is  not  all,  the  exposure  given  should  be 
sufficient  to  secure  softness  in  the  tone-values,  from 
the    highest    Hghts    with    tender   gradations   in   the 


ARTISTIC   KKTOUCHING.  7 

shadows,  producing  roundness  with  snap,  Hfe.  The 
result  is  luminous  lights  and  luminous  soft  and  deep 
shadows,  with  an  eye  for  composition  and  a  keen  sense 
for  expression,  give  beauty  to  the  whole.  A  correct 
lighting  seems  not  to  be  how  much  light,  but  how  to 
shut  off  the  needless  illumination ;  using  just  enough 
to  unite  and  "sweeten"  the  whole  composition.  It  is 
unity  in  illuminatrdn  that  secures  the  artistic. 

All  this  can,  however,  be  ruined  in  the  dark-room. 
It  is  very  essential  for  the  dark-room  man  to  under- 
stand lighting  so  he  may  know  the  pitch  of  tone-values 
or  the  light  and  shade  of  the  composition.  Not  under- 
standing modeling,  he  cannot,  technically  speaking, 
model  his  negative  with  the  chemicals.  He  should  so 
thoroughly  understand  this  that  if  a  negative  be  either 
under-timed  or  over-timed,  he  will  at  once  know  how 
to  manipulate  his  developer  to  secure  the  highest  re- 
sult, so  much  so  that  when  a  negative  comes  from  the 
dark-room  it  is  neither  under-timed  nor  over-timed  to 
prevent  making  a  very  first-class  negative,  unless  it  be 
extremely  under-  or  over-timed,  but  there  is  not  much 
occasion  even  for  that  to  produce  a  fairly  good  printer. 

There  is  a  wide  range  in  plates,  especially  in  the 
longer  exposures.  Should  a  negative,  however,  come 
to  the  retouching  desk  under-timed  or  over-timed,  then 
the  retoucher  must  work  up  the  deficiencies.  In  an 
under-timed^^he  negative  lacks  gradations  or  half- 
tones, half-lights  and  half-shadows ;  the  high  lights 
having  received  the  "maximum  amount  of  light,  while 
the  shadows  the  minimum."  In  an  over^timed,  the 
negative  lacks  contrast,  lacks  high-lights,  these  must 
be  built  up  to  add  contrast.     No  amount  of  lead,  no 


8  ARTISTIC   RETOUCHING. 

matter  how  artistically  laid  on,  can  be  as  luminous  and 
beautiful  as  a  first-class  negative. 

The  finest  productions  in  photography,  as  well  as  in 
art,  contain,  or  should  contain,  these  numerous  tones 
given  in  all  their  refinement  of  gradations  from  the 
highest  lights  to  the  deepest  shades.  Between  these  ex- 
tremes are  found  hundreds  of  fine  tones  of  light  and 
dark,  none  being  as  white  as  the  white  of  the  highest 
light  and  none  as  deep  as  the  deepest  shade.  These 
excellent  technical  qualities  can  be  secured  by  a  well 
timed,  a  well  lighted  negative,  combined  with  a  judi- 
cious handling  of  chemicals. 

More  inferior  work  has  come  from  under-expos- 
ure. Combine  with  it  a  poor  lighting,  and  indeed  the 
pictorial  technique  is  destroyed.  Its  unity  in  illumi- 
nation, a  pulling  or  binding  together  of  gradations  into 
one  harmonious  whole,  which  makes  a  beautiful  pic- 
ture, not  alone  pleasing  but  artistic,  is  lost.  We  would 
conclude  then  that  the  true  object  of  retouching  from 
the  highest  technical  standpoint  is  to  perfect  a  well- 
lighted,  a  well-timed  and  a  well -developed  negative. 


The  Anatomy  of  the  Head. 


ARTISTIC   RlJTOUCHING.  9 

CHAPTER  III. 

PRELIMINARIES  TO   RETOUCHING. 

A  LMOST  anyone  with  good  eyesight  can  learn  to 
■^  retouch.  It  however  requires  more  time  for  some 
than  others.  Experience  in  drawing,  an  insight  to 
form  or  beauty,  or  artistic  incHnations  are,  without 
question,  unbounded  helps.  It  goes  without  saying 
that  the  value  of  drawing  cannot  be  over-estimated. 
A  knowledge  of  unity  of  gradations  is  of  the  utmost 
importance.  Those  having  a  keener  eye  for  form  learn 
it  the  quickest.  It  would  not  be  amiss  to  state  that  a 
grand  method  for  learning  retouching  would  be  to 
study  modeling  and  effect  of  light  and  shade  in  the 
studio  from  subjects,  to  make  a  careful  study  of  the 
anatomy  of  faces,  to  be  able  to  tell  at  a  glance  what 
adds  to  or  takes  from  the  individual. 

Physiognomy  would  be  a  great  assistance,  to  be 
able  to  tell  what  peculiarities  to  leave  or  to  take  out  for 
strength  of  character.  It  is  extremely  necessary  to 
become  a  first-class  photographer  to  know  at  a  glance 
either  in  the  studio  or  at  the  retouching  desk  what  it  is 
that  makes  the  picture;  the  likeness  of  each  individual 
at  his  or  her  best.  There  is  some  beauty  in  every  face 
either  plainly  seen  or  almost  hidden ;  but  sad  to  say, 
very  often  hidden  when  before  the  camera,  but  it  can 
be  produced  by  the  master  of  the  profession.  One 
who  can  in  an  instant  pick  out  the  beautiful,  who 
knows  the  beautiful  when  before  him,  tho  ever  so  little, 
or  better  still,  or  more  technically  speaking,  one  who 
correctly  appreciates  a  defect. 


10  ^     ARTISTIC   RETOUCHING. 

The  more  artistic  ability  one  possesses,  the  more 
power  he  has  to  portray  the  pictorial.  All  this  applies 
to  the  retoucher  as  well,  for  he  can  either  mar  or  beau- 
tify. He  can  make  a  very  inferior  negative  first-class 
as  regards  lighting,  expression,  or,  to  some  extent, 
composition.  Expression  can  be  changed  completely 
and  be  a  grand  success.  An  artistic  retoucher  under- 
stands what  creates  beauty  of  face,  line  or  expression. 

Only  too  often  we  hear  people  say,  "Make  me  beau- 
tiful, if  it  looks  like  me  or  not,  make  me  beautiful.  You 
have  made  So  and  So  beautiful  and  I  know  I  am  not  as 
homely  as  she,  make  me  beautiful."  Another  will  say, 
"Out-do  yourself  when  you  take  my  picture.  Make 
me  grand,"  and  very  often  this  can  be  done.  The  re- 
toucher can  accomplish  what  was  impossible  for  the 
operator,  or,  better  still,  he  can  assist  in  accomplishing 
what  the  operator  has  begun.  Then  again,  there  are 
those  who  care  not  quite  so  much  for  beauty  but  for 
distinctive  peculiarities,  or  impersonations,  strong  like- 
nesses. These,  of  course,  must  also  be  pleased  and 
worthy  their  aim.  An  artistic  retoucher  sees  at  once 
what  is  striking  in  each  individual  and  can  enhance  the 
same  by  skillful  work  of  pencil  or  etcher. 

Let  us  go  back  to  the  studio  and  examine  the  eye 
of  the  camera.  The  lens,  as  is  known  to  all,  is  on  the 
same  general  principle  as  the  human  eye.  There  i^  the 
lens,  diaphragm  and  sensitive  plate.  The  iris  is  a 
screen,  in  its  centre  is  the  pupil.  It  is  provided  with 
muscles  which  contract  and  expand  the  pupil,  the  same 
as  the  diaphragms.  The  eye  possesses  a  lens,  also  the 
retina,  which  is  a  plane,  sensitive  to  the  action  of  the 
light.     In  the  eye,  however,  the  rays  of  light  after 


ARTISTIC   RETOUCHING.  11 

passing  thru  the  lens,  centre  upon  one  spot  on  the  sur- 
face of  the  retina;  while  in  the  photographic  lens  these 
rays  cross  and  expand  before  reaching  the  plate.  The 
eye  does  not  have  to  focus  an  object  to  get  sharpness, 
as  is  in  nature.  The  result  is  the  photographic  lens 
is  by  far  more  miscroscopic  than  the  human  eye. 

Now  as  to  the  compound  lens.  It  is  the  combina- 
tion of  two  lenses,  one  corrects  the  distortion  of  the 
other.  The  focal  depth  is  very  much  shorter  for  por- 
traiture. Least  depth  of  focus  produces  least  dis- 
tortion. This  also  gives  the  most  artistic  results  be- 
cause of  short  focal  depth.  It  brings  the  part  nearest 
the  camera  sharper,  with  more  detail,  while  the  rest 
that  goes  back  or  recedes,  that  that  goes  away  in  per- 
spective, is  less  definite  and  softer;  consequence,  more 
atmosphere.  This  latter  will  be  dealt  with  at  more 
length  in  a  following  chapter  and  the  reason  for  these 
few  lines  on  the  lens  will  then  be  understood. 

With  this  wonderful  instrument  what  can  be  ac- 
plished,  the  future  alone  will  tell,  as  very  much  of  the 
past  and  present  have  done.  The  every-day  photog- 
raphy demands  likenesses.  This  does  not  necessarily 
mean  an  anatomical  drawing  of  the  subject,  for  how 
many  of  us  remember  the  exact  drawing  or  likeness 
of  any  esi^ecial  feature ;  but  it  takes  these  special  fea- 
tures to  make  the  whole  likeness.  We  remember  our 
friends  by  peculiarities  all  their  own  from  the  rest  of 
humanity.  Here  the  skill  of  the  retoucher  comes  into 
play.  He  can  tell  what  to  subdue,  what  to  enhance  to 
complete  the  picture.  The  greatest  attention  is  paid 
to  the  face,  which  is  the  principal  part  of  the  picture. 
There  are  no  two  faces  just  alike,  no  two  expressions 


12  ARTISTIC   RETOUCHING. 

and  as  a  consequence  no  two  are  handled  just  alike. 
If  any  of  these  peculiarities  are  beautiful,  or  express 
some  ideal,  they  should  be  brot  out,  but  if  they  exist  as 
defective  individualities,  subdue  them  to  the  extent 
that  they  be  not  the  first  thing  that  is  seen  in  the  pic- 
ture. If  at  a  glance  the  defective  peculiarity  comes  to 
notice  first,  then  it  is  too  pronounced.  Subdue  either 
with  pencil  or  etcher  sufficiently  that  the  eye  centres  on 
the  expression,  the  eyes,  the  countenance,  the  soul  or 
whatever  was  meant  to  attract  attention. 


ARTISTIC   RETOUCHING.  13 

CHAPTER  IV. 
nece;ssities  for  retouching. 

A  S  RETOUCHING  requires  wherewith  to  get  re- 
suits,  the  acquaintance  of  the  technical  part  of  the 
profession  must  be  made  first.  Supposing  the  indi- 
vidual has  had  no  experience  whatever.  Technique  is 
the  foundation  of  all  good  work.  The  artist  must  first 
make  his  acquaintance  with  the  handling  of  the 
brushes,  paints  and  canvas.  So  the  necessities  of  the 
retoucher  must  be  considered.  First,  the  retouching 
desk ;  these  can  be  purchased  at  any  good  stock  house. 
Ground  glass  or  onion-skin  tissue  paper  should  be 
used  to  give  a  beautiful  subdued  light.  This  also  pre- 
vents anything  foreign  from  interfering  with  the  per- 
fectness  of  the  negative. 

A  good  light  is  essential,  north  light  being  the  best. 
By  no  means  let  the  sun  shine  on  the  reflector ;  it  causes 
a  glare  and  is  injurious  to  the  eyes.  A  strong  light  or 
the  light  consisting  much  of  the  visual  rays  causes  the 
image  to  be  looked  thru  instead  of  on  it,  losing  its  re- 
lief. Particular  attention  should  be  paid  to  the  light 
used.  If,  however,  the  retoucher  is  so  unfortunately 
situated  that  the  sun  shines  on  the  reflector,  place 
green  tissue  paper  across  the  back  of  the  desk  and  this 
will  absorb  the  strong  yellow  rays.  On  dark  days  a 
mirror  may  be  used  advantageously,  use  not  too 
strongly. 

The  first  step  after  the  negative  is  dry,  obtain  a 
proof  before  retouching.     Print  dark  enough  so  the 


14  ARTISTIC  rb;touching. 

imperfections  show  in  the  high-Hghts.  Occasionally 
a  proof  can  be  made  to  ascertain  the  progress.  When 
the  negative  is  finished  make  another  and  compare 
with  the  original.  Print  dark  enough  so  the  retouching 
shows  in  the  high-lights.  The  more  proofs  are  made 
and  studied,  the  sooner  modeling  is  accomplished. 

Next  the  negative  should  be  prepared  with  a  var- 
nish or  medium.  A  good  varnish  can  be  purchased 
at  any  stock  house.  The  medium  that  has  been  found 
very  satisfactory  to  the  writer  is  as  follows : 

Gum    Mastic 45  grs. 

Cut  in  Ether 2  oz. 

This  poured  very  slowly  into  12  oz.  of  gasolene. 
Let  stand  twelve  hours  before  use.  Follow  directions 
carefully  and  no  trouble  can  arise.  Keep  in  a  dark 
bottle.  To  apply  the  medium,  hold  the  negative  by  the 
left-hand  lower  corner,  pour  enough  medium  to  flow 
all  over  the  plate  on  the  upper  right-hand  corner ;  with 
a  little  rocking  movement  of  the  plate,  let  the  surplus 
medium  return  to  the  bottle  from  the  right-hand  lower 
comer.  This  dries  in  a  couple  of  minutes  and  is  ready 
for  use;  shaking  or  fanning  hastens  the  drying.  Re- 
touching may  be  rubbed  off  anywhere  with  gasolene  or 
turpentine  on  a  cloth,  working  in  a  blended  effect  to 
prevent  a  line;  then  reflow  the  negative.  The  varnish 
or  medium  gives  the  negative  a  tooth  so  the  application 
of  lead  may  give  desired  results.  A  negative  may  be 
reflowed  at  any  time,  even  over  the  retouching.  Place 
the  negative  over  the  aperature  in  the  desk,  film  side 
out.  If  a  negative  takes  the  lead  too  freely,  cause  of 
being  gritty,  rub  vigorously  in  a  circular  motion  with 
the  finger,  then  reflow. 


ARTISTIC   RETOUCHING.  15 

The  pencil  is  to  be  considered  next.  A  supply  of 
various  grades  of  pencils  is  necessary.  The  Faber 
Graphite  is  excellent.  It  is  preferable  to  begin  with 
a  harder  pencil,  the  H  H  H  H,  The  first  difficulty  to 
overcome  is  a  heavy  touch.  After  the  lightness  of 
touch  is  acquired  then  the  H  H  H  pencil  or  HH  can  be 
used.  A  magnifying  glass  is  used  by  some,  this  should 
be  avoided  unless  very  necessary,  few  needing  it.  Re- 
touching and  its  results  are  not  viewed  by  microscopic 
instruments.  A  few  other  necessaries  are,  namely,  a 
small  camel's  hair  brush  for  spotting,  a  stick  of  India 
ink,  a  chamois  or  paper  stump,  a  little  fine  powdered 
pomice  stone  and  etching  tools.  Each  and  their  uses 
will  be  mentioned  later. 

The  necessary  requisites  having  been  obtained,  first 
sharpen  the  pencil  by  cutting  away  the  wood  suffi- 
ciently, leaving  the  lead  to  extend  away  from  the  wood 
about  an  inch.  This  long  point  gives  an  elasticity  to 
the  point  or  touch,  which  aids  greatly  both  in  the  light- 
ness and  freedom  of  touch.  The  lead  should  be  taper- 
ing to  a  point,  on  the  principle  of  a  needle,  tho  not  so 
sharp.  Sharpen  on  sandpaper  while  running  the  pencil 
forward  and  back  over  the  sandpaper,  whirl  it  round 
and  round  to  obtain  a  roundness  and  smoothness. 

The  metallic  point  is  a  harder  pencil,  used  for  deli- 
cate work.  It  being  used  entirely  by  some  retouchers, 
the  plate  being  ground  with  powdered  pomice  stone  in 
a  circular  motion,  shaking  off  the  superfluous  powder : 
a  very  good  method  to  follow  if  a  negative  fails  to  take 
lead.  This  point  can  be  used  in  'shadows  or  thin  nega- 
tives, by  using  the  point  quite  dull  and  round  gives  a 
softer  effect. 


16  ARTISTIC   RETOUCHING. 

Commence  on  medium-sized  faces ;  the  imperfec- 
tions being  more  readily  discerned,  and  a  freedom  of 
touch  is  acquired  quicker  than  on  small  faces.  On 
the  latter  there  is  a  liability  to  niggling,  or  becoming 
"finicky."  It  is  in  retouching  that  a  breadth  of  hand- 
ling is  also  very  necessary,  as  breadth  of  handling  is  to 
an  artist  in  his  paintings.  The  difference  of  the  size  of 
the  head  is  not  to  be  compared,  but  all  the  grander  if 
breadth  is  obtained  in  small  faces,  whether  a  negative 
or  a  painting.  When  once  retouching  is  accomplished 
on  medium-sized  faces,  it  can  be  done  on  large,  or 
small  faces  with  perfect  ease. 


ARTISTIC   RETOUCHING.  17 

/ 

CHAPTER  V. 

WHAT  IS   RETOUCHING? 

"Vl/E  MAY  now  ask,  "What  is  retouching?"  Re- 
touching is  not  a  filHng-in  process  of  pencil  on 
the  gelatine  film.  It  is  a  preserving  of  modeling  either 
by  pencil,  knife,  etcher,  charcoal,  crayon,  brush  or 
color — anything  that  will  perfect  the  negative.  Re- 
touching is  form.  Its  true  object  should  be  clearly 
understood,  much  more  its  true  artistic  effects.  Re- 
touching is  often  thot  "flattery,"  but  a  negative  un- 
touched is  truthfully  speaking,  with  few  exceptions,  a 
mocking  injustice. 

Retouching  has  been  and  is  nuich  condemned  both 
by  those  who  practice  it  and  by  those  of  artistic  feeling. 
It  is  the  tendency  toward  extremes  in  many  things, 
which  generally  finds  its  source  in  a  lack  of  knowledge 
of  what  is  truly  wanted.  In  the  case  of  retonching, 
the  extreme  of  over-doing  has  given  the  public  just 
grounds.  For  truly,  nothing  mars  the  beauty  or 
strength  of  the  picture  more  than  over-doing. 

Some  claim  that  the  public  wishes  over-doing,  no 
doubt  that  the  greater  portion  of  the  public  desire  lines 
and  wrinkles  subdued  or  even  eradicated  altogether, 
but  this  can  be  done  and  yet  not  destroy  the  modeling 
or  life-likeness  of  the  individual.  A  likeness  may  be 
improved  and  yet  not  have  the  appearance  of  being 
over-done. 

A  negative  may  be  retouched  either  in  a  mechanical 
way  or  an  artistic  way,  the  latter  leaving  a  life-likeness, 


18  ARTISTIC   RETOUCHING. 

everything  that  gives  life,  while  the  former  loses  the 
finest,  most  delicate  effects  of  form  or  nature.  Both 
negatives  being  carried  as  far,  the  difference  being  in 
the  difference  of  handling.  The  artistic  retoucher 
knows  where  life  exists. 

Why  is  it  that  the  greatest  photographers'  works 
are  acceptable  by  the  public  and  they  don't  over-do? 
It  is  because  they  know  how  to  retouch.  If  the  public 
generally  had  the  opportunity  of  seeing  the  higher 
grade  of  work,  they  would  recognize  its  life-likeness  at 
once  and  admire  it. 

Therefore,  retouching  must  not  be  condemned,  for 
in  the  hands  of  an  artistic  retoucher,  it  is  an  art  in  itself 
alone.  A  true  retoucher  feels  and  stands  in  awe_of 
every  mark  of  character,  expression  or  whatever  of 
worth  the  negative  possesses ;  it  means  much  to  him. 
The  greatest  difficulty  lies  in  the  fact  that  there  is  a 
lack  of  feeling,  which  means  a  lack  of  understanding 
the  finer  and  higher  things  of  life.  To  be  truly  artistic 
one  must  be  filled  with  feeling.  The  day  has  come 
when  all  the  soul  of  the  man  must  be  left  in  the  picture. 


ARTISTIC   RETOUCHING.  19 

CHAPTER  VI. 

REASONS    EOR    RETOUCHING. 

'X'HERE  has  come  under  the  writer's  observation 
seven  reasons  why  retouching  is  necessary.  Some 
of  which  could  be  condensed  as  for  one  reason,  the 
imperfections  of  the  art,  science  or  mechanical  part  of 
photography. 

The  first  reason  comes  from  the  studio,  viz.,  be- 
cause of  the  modeling  that  was  not  done  under  the 
skj'-light.  This  alludes  to  the  tone- values  that  were 
mentioned  in  a  previous  chapter.  There  should  be  no 
broad  patches  of  light  and  shade,  but  delicacy  of  gra- 
dations must  prevail  everywhere.  Roundness  or  per- 
spective is  a  true  test  of  a  good  use  of  light  and  shade. 
Modeling  only  too  often  suffers  by  injudicious  use  of 
reflectors  or  head  screens  as  well  as  lighting.  Im- 
proper values  often  have  a  distorting  effect. 

2nd.  Because  of  the  common  plate  not  taking  na- 
ture in  its  true  actinic  value.  The  common  plates  of 
to-day  do  not  take  the  picture  image  in  its  true  values 
of  light  and  shade  as  represented  in  nature ;  in  its  true 
color  values  in  relation  of  one  to  the  other. 

The  consideration  of  some  of  nature's  colors  may 
be  of  profit.  The  warmest  colors  are  orange  and  red. 
The  warm  tones  are  orange,  red,  yellow,  brown,  violet 
if  it  tends  to  red,  black  if  it  tends  to  brown,  green  if 
it  tends  to  yellow.  The  coldest  tone  is  blue.  The  cool 
tones  are  blue,  grey,  violet  if  it  tends  to  blue,  green  if 
to  blue,  black  if  to  blue.    These  are  simply  the  leading 


20  ARTISTIC   RETOUCHING. 

colors,  there  existing  many  shades  or  varieties  of  tints. 
Since  the  warm  and  cool  tones  act  at  extremes,  it 
throws  the  tones  out  of  harmony  as  represented  in  na- 
ture in  relation  of  one  to  the  other.  Warm  tones  are 
taken  slower. 

With  reference  to  the  face,  blemishes,  such  as 
freckles,  moles,  red  spots  and  the  like  are  of  a  warmer 
tone  than  the  surrounding  color  of  the  skin ;  conse- 
quently these  imperfections  are  left  in  the  plate  as  more 
transparent,  printing  dark  spots.  These  places  seem 
exaggerated,  but  the  imperfectness  of  the  plates  picks 
out  each  little  warm  spot  its  full  size,  larger  than 
the  naked  eye  can  see  and  leaves  a  full-sized  transper- 
ency.  Complexions  that  apparently  seem  to  be  free 
from  freckles,  the  plate  and  lens  finds  them.  Color  in 
the  cheeks  gives  a  hollow  appearance,  because  the  plate 
did  not  take  the  color  in  its  true  value  with  the  sur- 
rounding skin.  Brown  eyes  take  sometimes  black.  The 
corners  of  the  eyes  that  possess  a  pink  or  reddish  tone 
is  taken  darker.  The  upper  lip  in  shadow  is  often  too 
dark  and  flat,  doubly  dark  because  in  shadow.  The 
side  of  the  bridge  of  the  nose  where  the  light  and 
shadow  are  united  is  often  very  sharp  and  deep. 

The  cool  tones  are  the  opposite;  these  tones  acting 
more  quickly  on  the  plate,  printing  lighter  than 
the  surrounding  color.  Blue  eyes  are  taken  lighter, 
especially  if  much  light  is  used.  Whites  of  the 
eyes  are  taken  whiter  if  they  possess  a  bluish  cast. 
If  a  cream  tone  prevails,  they  are  more  in  true  tone- 
values  with  the  surrounding  complexion.  If  a  blue 
cast  exists,  especially  in  the  shadow  eye,  the  result  is 
often  too  strong  and  it  stands  out  in  bold  relief,  the 


ARTISTIC   RETOUCHING.  21 

harmony  and  simplicity  of  the  shadow  is  destroyed. 
These  should  be  etched  down ;  the  method  of  which 
will  be  explained  later.  If  reflected  light  is  too  strong 
and  in  the  wrong  place,  possessing  a  grey  or  bluish 
tone,  it  will  be  taken  lighter.  Shadows  are  naturally 
of  a  warm  tone,  if  reflected  light  is  thrown  in  that 
shadow  of  an  opposite  tone,  the  plate  responds  quicker 
to  the  cool  tone  while  the  warm  is  holding  back,  espe- 
cially more  so  for  being  in  shadow ;  the  simplicity  and 
depth  being  destroyed. 

High-lights  are  usually  of  a  bluish  nature,  the  in- 
visible rays  being  in  predominence,  reflecting  more 
light  from  these  places ;  these  if  not  placed  in  true 
harmony  with  reference  to  effect  on  plates  by  lighting, 
will  be  too  high  in  pitch.  There  is  much  to  be  taken  in 
consideration  as  to  the  modeling  of  the  picture  image 
in  the  plate.  Shadows,  if  warm,  will  be  darker;  if 
high-lights_cool,  will  be  lighter,  and  the  beautiful  bal- 
ance of  the  tone-values  in  the  image  is  lost,  only  to  be 
remedied  at  the  retouching  desk ;  which  means  more 
expenditure  of  time.  Isochromatic  plates  remedy  this 
difificulty  to  a  great  extent,  but  not  entirely. 

3rd.  Because  of  the  microscopic  detail  produced  by 
the  lens  further  than  nature  is  seen  by  the  human  eye. 
It  is  commonly  thot  that  the  camera  exaggerates.  The 
lens  simply  produces  strong  microscopic  detail ;  it  sees 
too  minutely.  The  human  eye  sees  nature  more  beauti- 
^ fully,  softer,  more  atmospheric.  How  much  coarser, 
more  wiry  even  hair  is  produced  if  sharply  focussed. 
Retouching  is  necessary  to  bring  the  picture  image  back 
to  nature  as  seen  by  the  eye. 

4th.  Because  of  the  imperfections  the  operator  has 


22  ARTISTIC  RETOUCHING. 

failed  to  hide.  There  are  imperfections  the  operator 
can  hide  and  if  neglected,  the  retoucher  must  come  to 
the  rescue.  Then  again,  some  imperfections  are  left 
from  good  judgment.  It  would  be  sheer  injustice  to 
the  subject  to  sacrifice  some  fine  quality  of  the  face  for 
some  little  imperfection.  Far  better  leave  the  imper- 
fection to  the  retoucher, 

5th.  Because  of  poor  developing.  Much  good  work 
in  the  studio  is  destroyed  by  misuse  of  chemicals, 
mostly  thru  a  lack  of  knowledge  of  Avhat  can  be  done. 
Strong^developer  gives  brilliancy  and  contrast  if  prop- 
erly controlled,  while  a  weak  developer  gives  detail  and 
softness.  In  an  under-timed  negative,  a  weak  de- 
veloper! has  tiiii,^  to  find  its  way  in  the  weaker  ex- 
posed parts  of  the  sadows,  holding  the  gradations  of 
the  high-lights  from  being  swallowed  up.  In  an  over- 
timed, strong  development,  properly  controlled,  gives 
the  brilliancy  desired,  destroying  its  natural  tendency, 
flatness;  the  blackening  agent  (pyro)  building  up  the 
lights,  by  the  inrush  of  this  agent,  where  the  light  thru 
the  exposure  impressed  the  plate  the  strongest.  This 
agent  causing  the  shadows  also  to  become  clearer  if 
the  extra  pyro  is  added  at  the  right  time,  instead  of 
leaving  them  heavy  or  clogged.  Bromide  is  also  a 
good  clearing  agent. 

In  white  drapery,  the  accelerator  should  be  subordi- 
nated to  allow  the  high-lights  to  receive  their  due  pro- 
portion while  the  shadows  obtain  their  just  amount. 
By  this  means  the  blackening  agent  will  have  time  to 
find  its  "best  lodgings."  A  good  retarder  is  bromide 
or  water.  Whether  in  under-timed  or  over-timed,  tones 
are  to  be  worked  for,  sought  for,  with  due  considera- 


ARTISTIC   RETOUCHING.  23 

tion  of  brilliancy  and  life.  In  the  manipulating  of  a 
negative,  the  developer  should  be  properly  regulated  as 
to  the  agent  producing  intensity  and  the  alkali ;  the  best 
manipulating,  however,  is  done  thru  water  and  pyro. 

Play  with  the  chemicals,  manipulate,  build  up,  re- 
duce, know  values.  Light  plays  a  very  important  part 
in  the  make-up  of  a  picture.  The  quality  of  the 
print  is  of  unbounded  importance,  result  being  due  to 
the  color  of  the  negative  and  its  intensity,  notwith- 
standing that  the  lighting  and  timing  may  have  either 
been  proper  or  improper.  However,  it  goes  without 
saying  that  in  the  balance  of  light  and  shade  that 
lighting  and  exposure  have  as  much  to  do  with  a  good 
negative  as  the  chemicals. 

It  is  of  the  utmost  necessity  to  learn  to  feel,  as  it 
were,  the  diflference  in  the  quality  of  a  print  from  a 
negative  that  is  intense  and  heavy  and  one  clear  and 
transparent,  possessing  a  ligjpLtrjess,  giving  a  print  that 
confairis  atmosphere,  a  beautiful  something  that  fills 
the  picture.  Develop  atmosphere^  feeling  into  the 
jpicture.  Pour  into  the  trays  a  goodly  mixture  of  de- 
veloper and  "brains,"  the  latter  much  in  excess.  To 
know,  to  feel  and  to  do  is  the  grandest  formula  for 
negative  making.  If  the  operator  does  his  own  devel- 
oping, he  can  best  tell  what  formula  to  use,  according 
to  subject  and  time,  thereby  needing  very  little  manipu- 
lating after  once  begun. 

6th.  Because  of  the  unequal  distribution  of  proper 
and  pleasing  lights  and  shades.  Lights  that  give  an 
unpleasing  effect,  that  alter  the  expression,  thereby 
marring  the  desirable  likeness,  necessitates  corrections 
of  light  and  shade.  Lights  or  shades  that  are  scattered, 
broken,  remedy  by  uniting. 


24  ARTISTIC   RETOUCHING. 

The  studio  light  or  a  one-source  of  light,  a  45" 
angle  source,  increases  imperfections  of  the  skin.  In- 
dividuals in  every  day  life  see  themselves  surrounded 
by  light  from  all  sides,  viz.,  side  light,  top  light,  front 
light,  back  light.  These  cross  lights  fill  up  the  little 
roughnesses  of  the  skin,  making  them  unnoticeable  to 
an  observer.  The  one  source  of  light  causes  each  little 
raised  portion  of  the  skin  to  cast  its  little  shadow,  the 
result  is  a  mottled  effect,  which  must  be  cleared  up. 
This  is  why  moles  are  larger  in  the  negative.  If  all 
other  imperfections  of  the  skin  are  eradicated,  the 
mole  is  apt  to  attract  first  attention,  make  smaller  or 
take  it  out  entirely. 

The  subject  demands  justice,  the  picture  is  to  please, 
and  if  the  lighting  is  beautifully  done,  it  adds  many 
fold  to  the  image.  If  lights  are  not  properly  placed, 
they  should  be  remedied :  lighting  should  also  often  be 
modified. 

7th.  Because  expression  is  to  be  changed  some- 
times. How  often,  only  too  often,  the  operator  pays  too 
little  attention  to  the  very  important  artistic  quality, 
exj^ession ;  seemingly  to  be  content  with  simply  the 
physiognomy  of  the  face,  regardless  of  expression, 
further  than  a  pleasant  look,  if  even  that.  How  little  a 
picture  really  contains  if  lacking  in  expression.  Rem- 
brandt's fame  (one  of  the  most  renowned  artists)  v/as 
due  much  to  the  marvelous  expressions  in  his  paint- 
ings. He  has  given  to  the  world  and  to  photography 
much.  If  photographers  would  but  study  the  masters, 
more  would  be  accomplished.  They  knew  expression 
and  how  to  interpret  it. 

The  eye  is  the  seat  of  expression.    What  the  soul 


ARTISTIC   RETOUCHING.  25 

feels  the  eye  shows.  Stop  a  moment  and  watch  a 
friend  while  talking ;  notice  the  varied  expressions  even 
in  a  moment's  time.  The  world  is  filled  with  grand 
expressions  from  nature's  own  hands,  if  the  artist 
would  but  get  them.  So  often  the  mouth  has  a  forced 
look  or  smile,  or  a  "look  pleasant"  expression,  while 
the  eye  is  blank.  Get  the  expression  in  the  eye  and 
the  mouth  will  take  care  of  itself.  In  a  forced  expres- 
sion of  anger,  the  forehead  contains  a  deep  frown  and 
quite  knit  together,  the  fire  in  the  eye  is  lacking  how- 
ever, and  the  mouth  or  lower  part  of  the  face  is  quite 
placid.  The  expression  must  come  from  within.  There 
is  perfect  harmony  over  the  whole  face  in  a  natural  ex- 
pression if  this  expression  comes  from  within. 

From  the  above,  the  reasons  for  retouching  are 
many.  The  retoucher  has  come  and  come  to  stay,  but 
science  in  the  future  may  reduce  the  amount  of  re- 
touching. 


26  ARTISTIC    RETOUCHING. 

CHAPTER  VII. 

LITTLE   THINGS. 

OINCE  the  necessity  for  retouching  has  been  dis- 
*^  cussed,  the  drawbacks  of  an  unskilled  retoucher 
may  be  considered.  It  is  the  extremist,  or  the  one 
without  feeling  or  regard  for  expression,  drawing  or 
physiognomy,  who  aims  simply  at  making  the  nega- 
tive perfectly  smooth  all  over.  Nothing  can  be  more 
appalling  than  to  produce  a  negative  which  seems 
almost  faultless  chemically  and  artistically  and  have  it 
ruined  by  a  retoucher.  This  is  a  tale  only  too  often  that 
must  be  grievously  told.  No  wonder  the  artist  and  the 
public  decry  retouching.  Such  a  retoucher  succeeds  in 
effacing  all  traces  of  character  and  generally  treats  all 
faces  and  all  ages  alike.  Before  retouching  a  nega- 
tive, study  it  carefully  as  a  whole ;  then  the  parts  as  a 
whole;  then  the  parts  in  relation  to  the  parts  of  the 
whole  negative. 

In  the  first  place,  be  strongly  impressed  with  the  fact 
that  a  negative  artistically  and  beautifully  retouched 
requires  as  little  lead  as  possible  to  accomplish  the  pur- 
pose. No  amount  of  work  can  make  the  negative  as 
beautiful  as  that  part  that  is  already  perfect.  Nega- 
tives of  small  children  are  too  often  ruined  by  over- 
doing. Here,  in  the  sweetness  of  expression,  the  subtle 
lines  are  so  easily  marred  and  would  have  been  much 
better  if  left  alone,  except,  perhaps,  for  a  few  freckles 
or  a  little  blending.     In  the  aged,  too  often  grand 


I 


ARTISTIC   RETOUCHING.  27 

character  is  destroyed,  better  to  have  left  ahiiost  un- 
touched. 

Retouching  is  made  up  of  httle  things,  a  Httle  mod- 
ehng  here,  blending  there,  softening  a  line,  bringing 
out  a  muscle  or  a  prominence  here  or  a  feature  there. 
The  image  is  in  the  negative  but  in  its  imperfections. 
It's  on  the  same  general  principle  as  a  sculptor  whose 
image  is  carved  from  the  block  of  marble  or  clay,  ready 
for  the  finishing  touches.  Thus  the  retoucher  deals 
with  texture,  form  and  color.  He  perfects  while  at  the 
same  time  keeps  the  likeness  or  aspect  of  the  person; 
finishing  the  work  of  the  posing,  lighting  or  what  not  of 
the  imperfect  negative. 

The  stroke  might  now  be  considered :  now  that  the 
negative  has  been  prepared  with  medium,  the  pencil 
sharpened,  the  negative  placed  in  the  retouching  desk 
and  the  necessity  for  retouching  discussed. 

There  are  several  good  systems  of  retouching,  viz., 
the  French  or  the  curve  stroke,  ( ^  ( ^  ^ ;  the  English  or 
the  straight  line,  !■'";  the  German  or  the  cross-hatch, 
^^  ;  and  the  American  or  the  hook,  f/^Pf  The  cir- 
cular movement  is  used  by  some,  lifting  the  pencil  only 
occasionally,  but  this  necessitates  of  putting  lead  on  the 
plate  where  not  needed.  The  dot  system  is  used  by 
some.  This  lacks  breadth  of  work,  giving  a  decided 
"finicky"  result.  From  experience  the  writer  has 
found  the  curve  stroke  to  give  the  finest  result,  ad- 
justing the  form  of  the  stroke  to  the  imperfection.  It  is 
the  most  beautiful  and  artistic  line  in  nature;  it  coin- 
cides more  with  the  curves  of  the  face,  no  face,  how- 
ever, angular,  but  tends  to  curves ;  it  cuts  up  the  im- 
perfections better,  with  fewer  strokes.  Some  use  any 
kind  of  a  stroke,  good  method  also. 


28  ARTISTIC   RETOUCHING. 

The  first^tep  in  retouching  is  to  remove  the  trans- 
parent spots  or  transparencies  caused  by  freckles  and 
the  hke,  by  a  little  accent  mark  or  touch.  Do  this 
firmly  and  freely  to  remove  with  as  few  touches  as  pos- 
sible to  produce  a  looseness.  Avoid  a  filling-up  process, 
of  placing  a  number  of  little  strokes  where  one  or  two 
would  suffice.  Place  the  accent  touches  (not  dots) 
firmly  enough  to  bring  the  transparency  up  in  tone  to 
the  surrounding  color  where  the  imperfections  lay.  Get 
the  minor  imperfections  out  of  the  way,  those  that  have 
nothing  to  do  with  the  modeling.  Take  out  all  the 
transparencies  that  interfere  with  the  regularity  of  the 
work  or  skin  texture,  being  careful  not  to  be  too  precise 
in  trifles.    Cut  up  the  imperfections  and  not  fill  up. 

For  a  beginner  these  imperfections  may  be  taken 
out  all  over  the  face  to  acquaint  himself  with  pencil 
and  negative,  leading  the  eye  to  see  the  other  imper- 
fections which  are  not  visible  at  first.  The  imperfec- 
tions to  be  looked  for  next  are  the  larger  light  places 
which  are  all  shapes  and  sizes  and  give  a  mottled 
effect  to  the  skin.  These  imperfections  are  the  little 
shadows,  etc.,  mentioned  before;  they  give  a  clouded 
effect  and  for  convenience  sake  may  be  called  "clouds." 

Here  the  curved  stroke  comes  into  play  if  perchance 
this  system  is  used.  In  removing  these,  place  the 
stroke  in  the  direction  in  which  t'ne  cloud  lays  the 
longest,  whatever  that  direction.  At  first  work  slowly, 
every  stroke  is  either  right  or  wrong,  either  adds  to 
or  takes  from  the  value  of  the  work.  The  conclusion 
is  each  stroke  is  a  study.  After  the  first  stroke  is 
placed,  what  is  left  of  the  imperfection  (if  that  stroke 
was  made  the  right  weight),  the  rest  of  the  cloud  will 


ARTISTIC   RETOUCHING.  29 

suggest  the  direction  of  the  next  stroke.  Never  think 
of  whether  one  stroke  should  cross  another  or  not, 
simply  look  for  the  place  where  the  imperfection  sug- 
gests the  place  or  direction  of  the  next  stroke.  The 
weight  of  these  strokes  should  be  heavy  or  light  enough 
to  make  the  imperfection  meet  the  color  that  surrounds 
the  imperfection,  whether  it  lay  in  a  high-light,  half- 
tone or  shadow.  It  is  not  the  stroke  itself  that  should 
be  seen,  but  the  effect  of  the  stroke.  Sometimes  an  im- 
perfection is  narrow  and  straight,  use  then  a  straight 
stroke. 

The  student  should  be  patient,  for  it  is  quality,  not 
quantity  that  is  wanted.  One  stroke  made  in  a  wrong 
place  makes  more  work,  this  leads  to  over-doing  at- 
once.  This  is  almost  unavoidable  at  first,  a  student 
works  all  over  to  learn  to  know  what  to  leave  out. 
He  must  or  does  do  too  much  to  know  how  to  do  only 
what  and  where  it  is  necessary.  Some  retouchers  re- 
touch with  more  labor  than  others.  That  has  its  in- 
fluence on  the  appearance  of  the  work.  Learn  to  work 
but  play  with  the  work,  in  other  words,  work  carefully 
careless  or  with  ease,  this  leaving  its  result,  an  artis- 
tic result.    This  method  cannot  be  followed  at  first. 

The  student  may  make  progress  and  yet  not  know 
wherein  it  lies ;  the  eye  perhaps  can  detect  imperfec- 
tions quicker ;  the  stroke  is  probably  placed  to  better  ad- 
vantage or  with  better  weight.  One  of  the  greatest 
essentials  is  to  study;  for  the  retoucher  deals  with  form 
in  the  imperfections  and  all.  Study  the  imperfections, 
train  the  eye  as  to  their  separate  and  distinct  forms, 
then  adapt  the  stroke  to  the  imperfections.  In  using 
the  curved  stroke,   some  may  be  more  curved  than 


30  ARTISTIC    RETOUCHING. 

others  according  to  the  imperfections :  some  places  are 
such  that  only  a  straight  stroke  is  desirable. 

Removing  of  transparencies,  clouds  are  visible  and 
simplified;  removing  of  the  clouds,  large  clouds_are 
visible ;  removing  of  these  pulls  the  work  together : 
the  strokes  becoming  longer  as  the  work  proceeds,  the 
conclusion  is,  less  work  is  needed.  Take  out  trans- 
parencies only  such  that  interfere  with  the  general 
effect,  then  take  out  the  mottled  places  and  let  natural 
skin  texture  become  perfected,  letting  the  work  blend 
into  and  be  a  part  of  the  original  flesh,  instead  of 
manufacturing  it.  Too  much  lead  is  wholly  devoid  of 
real  natural  beauty.  Study  nature  and  its  effects,  ad- 
here to  her,  for  in  this  lies  the  secret  of  all  true  artistic 
results. 


ARTISTIC   RETOUCHING.  31 

CHAPTER  VIII. 

TEXTURE). 

There  are  two  kinds  of  retouching,  the  mechanical 
and  the  artistic.  The  latter  retouching  is  principally 
a  remedy  for  the  faults  of  the  scientific  and  photo- 
graphic manipulations  of  photography,  the  mechanical 
is  usually  the  result  of  working  for  a  "stipple"  or  grain. 
The  end  and  aim  of  such  is  to  obtain  a  certain  kind  of 
grain  effect,  more  attention  being  paid  to  that  (a  desire 
to  please  a  "fancy")  than  to  the  artistic  quality  of  the 
flesh  technique  or  character.  A  stipple  gives  a  harder 
feeling  to  the  flesh ;  this  same  stipple  being  carried  all 
over  the  face  almost  alike  in  quality  without  regard 
to  perspective  or  atmosphere.  A  natural  effect  pro- 
duced by  clearing  up  the  negative  gives  a  natural  skin 
texture.  This  natural  texture  gives  more  of  a  soft 
flesh  effect.  One  of  the  finest  qualities  in  a  painting  is 
w^here  flesh  looks  like  flesh.  This  is  obtained  not  by 
using  stroke  upon  stroke  or  stroke  by  stroke  with 
brush,  but  by  doing  the  work  with  as  few  touches  as 
possible.  This  gives  a  looseness,  a  freshness  and  a 
life  to  the  face  which  is  obtained  in  no  other  way.  In 
this  lies  the  difference  between  an  artist  and  an  ama- 
teur in  art.  This  quality  that  is  gotten  by  ease  and 
freedom  must  be  gained  by  education,  by  true  feeling. 
It  otherwise  looks  labored. 

A  Swedish  artist  was  known  to  have  received 
$4,000  for  a  painting  he  did  in  two  hours.  He  knew 
the  value  of  every  stroke  of  his  brush,  placed  it  on 


32  ARTISTIC   RETOUCHING. 

canvas  and  the  result  was  grand.  It  possessed  a  lu- 
minous, clear,  clean  atmospheric  effect  he  could  not 
have  gotten  had  he  used  many  strokes.  This  may 
seem  an  extreme  case,  but  it  is  full  of  truth  and  the 
result  was  full  of  artistic  effects.  Retouching,  to  be  at 
all  artistic,  must  be  on  the  same  general  principles. 
Every  stroke  in  retouching  has  its  place  and  no  other 
place  will  do  quite  as  well.  Each  stroke  should  count 
for  itself ;  each  should  be  made  to  give  its  own  desired 
effect.  The  effect,  not  the  strokes  themselves,  should 
be  seen.  If  one  stroke  could  have  accomplished  a  pur- 
pose (and  if  not  the  right  weight),  and  two  or  three 
are  used  instead,  this  result  can  never  be  as  artistic  as 
it  would  have  been  had  but  one  been  used.  Too  many 
strokes  produce  a  hardness ;  too  many  and  jiiade  too 
lightly  produce  a  tightness,  giving  more  a  marble  or 
plaster-cast  effect.  Too  short  a  stroke  necessitates  a 
greater  number  of  strokes,  making  the  work  look 
harder  and  is  more  of  the  order  of  niggling;  the 
broader,  freer,  looser  flesh  effect  is  also  destroyed  more 
or  less. 

The  direction  of  the  stroke  should  be  in  the  direc- 
|l I  tion  in  which  the  imperfection  or  cloud  lays  the  longest, 
'  *  whatever  that  direction.  It  is  the  placing  of  the 
stroke  in  the  varied  directions  that  produces  the  true 
skin  effect.  Consider  for  a  moment  the  negative.  The 
image  is  there,  the  flesh  is  there,  but  imperfectly,  not 
altogether  imperfectly  from  the  skin's  imperfections, 
but  also  from  the  fault  of  the  reasons  described  before. 
These  imperfections  give  a  softness  to  the  skin  which 
would  not  exist  were  the  effect  of  the  skin  in  the  plate 
perfectly  smooth.     The  effect  of  the  skin  is  there  but 


ARTISTIC   RETOUCHING.  33 

imperfectly,  this  being  the  case,  it  stands  to  reason  that 
the  strokes  should  be  made  as  the  imperfections  exist. 
A  more  natural  skin  effect  will  be  produced  if  this  is 
followed,  for  it  therefore  requires  less  lead,  and  less 
lead  produces  a  looseness  and  freshness  which  produces 
a  naturalness  which  means  more  life. 

Why  a  grain  at  all?  It  is  often  said,  "The  flesh 
itself  does  not  possess  such  a  grain,"  and  it  is  true ;  but 
truthfully  speaking,  it  is  not  such  intention.  The  plate 
does  not  depict  the  pores  of  the  skin ;  occasionally  a 
negative  possesses  a  spot  in  the  skin  on  the  cheek 
or  forehead  where  the  actual  pores  are  depicted  with 
such  minuteness,  but  this  only  occurs  in  very  porous 
faces  and  a  sharply  focused  negative,  but  notice,  it  is 
only  in  a  spot  or  two  on  the  face  so  depicted.  Notice 
there  nature's  regularity  of  the  pores  of  the  skin. 
Nature  has  a  tendency  to  regularity  or  uniformity.  It 
is  this  porous  effect  in  the  skin  in  nature  that  gives  a 
softness,  a  carrying  quality  for  distance.  The  skin 
itself  if  it  were  not  porous  would  look  harder. 

The  beauty  of  nature  is  in  its  effects.  How  many 
of  the  grandest  paintings  are  not  at  all  inviting  to  be 
examined  at  close  range,  but  the  effect  at  a  proper  dis- 
tance is  marvelous.  This  same  principle  may  be  re- 
ferred to  retouching.  This  looseness,  softness  is  for  a 
purpose,  not  to  represent  the  pores  of  the  skin,  but  a 
looseness  and  softness  to  give  a  flesh  effect  that  will 
carry  itself  in  the  photograph  at  the  natural  viewing 
distance.  During  the  past  and  present  a  grain  or 
stipple  effect  has  been  carried  to  a  coarseness,  farther 
than  is  necessary  or  even  called  for.  Of  later  3'ears 
by  the  extremes  of  the  past,  many  of  the  finest  photo- 


34  ARTISTIC   RETOUCHING. 

graphic  artists  are  doing  only  as  little  work  as  possi- 
ble, the  effect  is  grand  beyond  question,  more  natural 
and  not  so  artificial. 

The  beginner,  beyond  a  doubt,  puts  on  a  great  deal 
more  work  than  is  necessary.  He  has  not  learned  the 
right  weight  of  touch  for  each  spot,  the  right  direction, 
the  right  place  nor  the  right  length  of  stroke.  This 
all  means  more  than  the  student  will  realize  at  first, 
and  not  until  these  different  steps  are  fully  realized 
will  they  be  understood.  It  takes  a  certain  amount 
of  time  to  acquire  it.  It  cannot  be  forced.  The  eye 
must  be  trained  to  see  the  imperfections,  must  see  the 
imperfections  in  their  true  forms  to  be  able  to  give 
placement  and  direction  of  stroke  properly.  Then  the 
hand  must  be  trained  to  do  the  work  with  surety  and 
freedom,  each  with  proper  weight,  length,  direction 
and  placement.  It  is  extremely  necessary  that  the  stu- 
dent work  slowly,  for  the  reason  the  eye  cannot  see 
perfectly  at  a  glance  what  the  hand  perhaps  could  do. 
The  direction  of  the  stroke  after  the  imperfections  are 
removed  is  governed  also  by  the  direction  of  the  mus- 
cles in  the  face.  This  will  be  spoken  of  at  greater 
length  under  another  topic,  Modeling. 

One  of  the  hardest  things  to  accomplish  for  a  be- 
ginner is  to  get  the  work  to  appear  as  tho  it  was  part 
of  the  on^iim/^skin  itself  and  not  laid  on  top  of  the 
skin.  Never  work  for  a  grain  or  texture ;  put  all  atten- 
tion to  the  stroke,  its  placement,  weight,  direction, 
length,  and  the  texture  will  take  care  of  itself.  The  one 
who  pays  all  attention  to  the  grain  or  stipple  effect  and 
particularly  if  done  with  short  strokes  often  obtains 
work  more  as  tho  it  was  on  top  of  the  skin.   To  make 


ARTISTIC    RtlTOUCHING.  35 

the  work  look  as  tho  it  was  a  part  of  the  skin,  make  the 
strokes  in  the  varied  lengths  according  to  the  length  of 
the  TrnpeHectlons^nd'nTe^vmglit  t^^  imperfections 

will  be  raisedT  to  meet  the  color  that  surrounds  the 
imperfection  and  no  more.  If  strokes  are  made  heavier 
and  the  imperfection  is  raised  in  tone  then  it  immedi- 
ately requires  more  work  to  clear  the  negative.  This 
at  once  makes  the  retouching  appear  to  be  on  top  of  the 
skin.  Too  many  strokes  force  the  work  to  be  laid  on 
top  of  the  skin.  Strokes  in  wrong  places  add  more 
work  also.  This  all  is  a  very  important  factor  to  ar- 
tistic retouching ;  in  it  lies  the  true  feeling  of  the  flesh. 
Here  lies  one  difference  between  the  professional  and 
the  amateur  or  between  the  artistic  and  the  mechanical. 
At  first  much  more  attention  should  be  paid  to  the 
stroke  as  to  its  weight,  length,  direction  and  place  than 
anything  else,  for  without  this  no  modeling  is  possible. 

The  first  difficulty  will  be  too  heavv  a  stroke,  with 
the  use  of  a  harder  pencil  this  will  be  overcome  sooner. 
Usually  after  trying  to  make  a  lighter  stroke,  the 
stroke  becomes  too  light  and  too  many  will  have  to  be 
made  to  obtain  the  result.  This  is  not  a  bad  failing  for 
a  beginner,  because  when  a  real  light  touch  is  needed 
it  can  be  accomplished.  It  is  also  the  greatest  trainer 
of  the  hand.  It_^is_ver3r__necessary  to  have  a  gra- 
dation oi  weight  of  stroke.  By  this  is  meant  if  an 
imperfection  needs  a  heavier  stroke  it  can  be  made, 
the  same  of  a  moderate  or  a  very  light. 

Take  for  instance  a  space  the  size  of  a  small  finger 
nail ;  in  this  space  there  may  be  many  varied  weights 
of  touches  to  accomplish  the  work  properly,  according 
to  the   imperfections   whether  very   distinct   or   faint. 


36  ARTISTIC    RETOUCHING. 

If  this  gradation  of  weight  of  touch  is  not  accom- 
plished, the  negative  must  have  more  work  than  is 
necessary  to  clear  it,  giving  a  very  undesirable  effect. 
Another  very  important  reason  for  acquiring  a  grada- 
tion of  weight  is  because  of  the  gradations  of  the  nega- 
tive. The  weight  of  touch  should  vary  with  every 
change  of  tint,  also.  High-lights,  half-tones  and 
shadows  require  different  weights  of  touches,  and  ac- 
cording to  their  intensity.  Shadows  requiring  lighter 
touches  than  the  half-tones,  the  latter  requiring  lighter 
touches  than  the  high-lights.  To  obtain  a  softer,  cleaner 
effect,  make  the  stroke  itself  of  an  even  weight,  avoid- 
ing the  result  of  having  one  end  of  the  stroke  heavier 
than  the  other.  This  uneven  weight  causes  little  black 
spots.  Jerking  the  strokes  also  causes  one  end  to  be 
heavier  than  the  other. 

Dense  negatives  as  a  whole  require  heavier  strokes 
than  thin  negatives.  At  first  the  student  will  cause  the 
negative  to  become  glazed  in  places  by  repeated  strokes. 
Reflow  the  negative  with  medium  or  breathe  a  warm 
breath  on  the  place,  or  dot  the  place  with  a  needle 
etcher  to  roughen  the  film. 

The  length  of  the  stroke  should  be  according  to  the 
length  of  the  imperfection,  but  should  a  blemish  exist 
quite  large,  good  judgment  must  be  used  as  to  its 
length.    Always  avoid  extremes. 

Supposing  it  the  aim  of  the  retoucher  to  acquire  a 
natural  effect  produced  only  by  using  no  more  strokes 
than  is  necessary,  the  coarseness  or  fineness  of  the 
texture  of  the  skin  may  now  be  considered  of  the  dif- 
ferent ages  of  individuals  and  sizes  of  negatives.  A 
child's  face  possesses  a  purer,  clearer  and  more  deli- 


Profile  retouched  properly. 


ARTISTIC   RETOUCHING.  37 

cate  skin,  therefore  the  work  should  be  done  more 
dehcately,  very  little  work  is  necessary  because  so  free 
from  blemishes.  Avoid  destroying  by  much  work,  the 
delicate,  soft  subtleness  of  a  child's  face,  better  leave 
it  alone.  Then  there  is  the  boy  or  girl  whose  com- 
plexion is  still  beautiful  but  somewhat  more  imperfect, 
requiring  little  more  work  and  somewhat  coarser.  The 
grown  young  people  require  the  most  work,  here 
vanity  is  at  its  pitch  and  the  imperfections  are  more  in 
evidence.  The  delicacy  of  childhood's  complexion  has 
changed  more  to  a  firmer,  coarser,  harder  skin,  but  yet 
soft.  The  texture  should  be  coarser,  that  of  a  woman 
finer  than  of  a  man ;  of  a  girl  than  of  a  boy ;  the  aged, 
stronger  in  texture  still ;  may,  however  be  better  if  left 
untouched,  especially  in  an  elderly  man ;  that  of  a  large 
head,  much  coarser  than  of  a  small  head.  This  will  be 
dealt  with  at  greater  length  elsewhere. 

For  a  beginner  to  know  how  to  cut  up  the  work, 
how  to  clear  up  to  get  the  size  of  texture  for  each  face 
whether  coarser  or  finer  is  difficult.  This  comes  thru 
experience  and  feeling ;  examine  the  negative  more  as  a 
whole.  The  texture  is  most  in  evidence  in  the  half- 
lights  and  half-shadows.  In  the  high-lights  the  pores 
or  imperfections  of  the  skin  are  swallowed  up  by  the 
light  falling  directly  or  at  right  angles  in  these  places. 
On  the  rest  of  the  face  the  light  falls  on  the  diflferent 
parts  at  a  slant.  The  shadows  also  contain  less  tex- 
ture, because  shadow  tends  to  bury  or  hide  detail.  Ac- 
cording to  the  law  of  perspective,  there  is  less  positive- 
ness  of  texture  there,  which  is  explained  in  the  next 
chapter. 

In  any  material  containing  high-lights,  half-tones 


38  ARTISTIC   RETOUCHING. 

and  shadows,  the  half-tones  contain  the  true  color  of 
the  material,  while  the  high-lights  and  shadows  bury 
and  hide  its  true  color,  very  much  the  same  with 
reference  to  its  texture  also.  Everything  existing  has 
a  texture  of  its  own,  wood,  glass,  leaves,  cloth,  flesh 
and  so  on ;  and  in  representing  these  produce  their 
effects  and  not  minutely  their  true  natural  texture, 
which  would  be  impossible  in  the  very  effort  itself. 
Get  the  appearance  of  things. 


ARTISTIC   RETOUCHING.  39 

CHAPTER  IX. 
PERSPECTIVE. 

jVJ  OW  as  to  the  difference  of  the  skin  texture  in  dif- 
ferent parts  of  the  face.  There  are  three  very 
important  reasons  why  the  centre  of  the  face  has  the 
coarsest  texture  or  skin  grain.  First,  it  is  naturally  so. 
The  sides  of  the  face,  the  parts  of  the  forehead  that  go 
back  near  the  hair,  the  temples,  and  around  the  chin 
have  naturally  finer  pores  and  the  blemishes  are  not  as 
great  in  size  and  number,  ,2nd.  In  a  three-quarter 
view  or  full  view  of  the  face,  it  is  the  centre  of  focus 
and  is  sharper  and  more  distinct.  3rd.  It  is  nearer  in 
perspective. 

Perspective  is  a  very  important  element  in  pho- 
tography as  well  as  art.  Art  cannot  get  along  without 
it,  neither  can  photography  to  be  artistic.  It  is  the  first 
thing  sought  after  by  the  artist.  Perspective  is  not 
distance  alone  in  the  full  sense  of  the  word.  Looking 
down  the  railroad  track,  the  parallel  rails  of  the  track 
apparently  seem  to  be  coming  together  in  the  distance. 
The  telegraph  poles  do  likewise.  There  is  a  converging 
of  all  things  toward  a  centre.  The  face  of  a  friend 
may  be  recognizable  a  few  yards  away,  at  a  hundred 
yards  the  features  may  be  seen,  not  clearly  enough  for 
recognition  ;  at  half  a  mile  he  is  recognizable  as  a  man  ; 
a  mile  he  is  but  a  patch  or  spot.  All  this  is  perspective ; 
but  only  one  feature  of  it — linear  perspective.  It  is 
the  decreasing  in  size  of  objects  as  the  distance  in- 
creases. 


40  ARTISTIC   RETOUCHING. 

There  is  another  very  important  feature  in  per- 
spective, the  indistinctness  and  blurring  of  objects  as 
they  diminish  in  size.  In  the  above,  in  the  illustration 
of  the  man  as  the  distance  is  increased  from  the  point  of 
the  viewer,  the  less  distinct  he  became,  the  less  sharp  in 
line,  feature  and  contour ;  in  other  words,  he  became 
more  of  a  blurred  object  as  distance  increased,  scarely 
recognizable  from  any  other  object. 

The  tendency  is  not  to  bring  out  in  art  or  pho- 
tography the  man  at  any  distance  as  the  man  appears  in 
the  landscape ;  but  to  get  him  sharp  wherever  he  is  in 
the  scene  as  he  is  known  to  be  in  reality  at  closer  range. 
This  is  a  serious  mistake.  While  the  figure  decreases 
in  size,  it  fails  to  recede  or  hold  itself  in  atmosphere, 
because  of  minuteness  of  detail,  which  is  such  a  cry 
among  photographers  or  even  among  some  artists. 
The  appearance  of  air  or  atmosphere  is  destroyed.  A 
knowledge  of  technique  or  detail,  seeing  things  too 
minutely,  blinds  us  to  art  truth.  As  objects  recede  or 
go  away,  they  diminsh  in  size  and  fade  away  in  dis- 
tinctness, until  at  last  lost  altogether. 

This  element  of  perspective  is  very  important  to 
artistic  retouching.  Those  parts  of  the  face  that 
recede  or  go  away  from  the  centre  of  the  face,  or  those 
parts  that  are  away  in  perspective,  as  the  sides  of  the 
face,  temples,  forehead  toward  the  hair,  and  chin,  the 
pores  of  the  skin  at  these  places  appear  smaller  and 
less  distinct  because  of  the  law  of  perspective.  It  is 
wonderful  how  nature  has  played  such  a  good  part 
with  reference  to  the  face  to  produce  perspective  by 
arranging  the  pores  of  the  skin  in  the  centre  of  the 
face  the  strongest.     This  diminishing  in  size  and  be- 


ARTISTIC   RETOUCHING.  41 

coming  less  distinct  from  point  of  view  renders  a  nat- 
ural softness,  renders  more  atmosphere  as  this  softness 
is  carried  into  effect ;  as  these  parts  of  the  face  go  back 
in  perspective  from  the  centre.  Nature  has  itself 
helped  on  in  itself  this  perspective,  notwithstanding  the 
effect  that  is  produced  from  the  law  of  perspective  in 
itself  alone. 

The  above  being  facts  with  reference  to  pores,  and 
since  it  is  that  the  artistic  retoucher  is  not  trying 
to  represent  pores,  but  a  looseness,  a  softness  to  keep 
a  flesh  likeness  in  his  productions,  keeping  such 
by  simply  clearing  the  negative  of  its  imperfections ; 
these  things  should  be  taken  into  strong  consideration 
to  produce  the  effect  of  the  skin  with  reference  to 
these  truths.  It  is  not  minuteness,  but  art  futh  that  is 
wanted.  What  beautiful  and  natural  results  could  be 
produced  in  photography  if  the  lens  did  not  see  nature 
too  minutely.  Not  so  the  case  of  the  lens  alone,  but  it 
is  strongly  human  nature  to  see  too  minutely  also. 
The  untrained  eye  does  not  see  nature  as  soft  and 
atmospheric  as  nature  is  itself.  It  sees  nature  as  if  in 
close  proximity  as  objects  are  known  to  be  at  close 
range;  a  knowledge  of  things  as  they  are  and  not  as 
they  appear  enveloped  in  atmosphere. 

In  a  profile  where  the  light  falls  strongest  on  the 
cheek  in  front  of  the  ear,  leaving  the  front  of  the  face  in 
shadow,  or  a  plain  light  profile,  the  strongest  texture 
is  in  and  around  the  light,  while  the  front  of  the  face, 
the  nose,  the  front  of  the  forehead  and  the  cheek 
below  the  eye,  etc.,  the  texture  is  finer  because  of  the 
texture  being  buried  or  somewhat  hidden  in  lower 
tones ;  and  according  to  the  law  of  perspective,  these 


42  ARTISTIC   RETOUCHING. 

places  go  away  in  perspective.  To  make  the  texture 
as  strong  here  as  in  the  Hght  is  to  flatten,  is  to  bring 
the  texture  as  far  forward  as  on  the  cheek,  thereby 
helping  to  lose  true  form.  Always  start  on  that  part 
of  the  negative  that  is  to  be  kept  forward  in  perspective 
so  that  the  work  on  the  parts  that  go  back,  the  true 
feeling,  modeling,  atmosphere,  roundness  or  perspec- 
tive may  be  properly  kept. 


ARTISTIC   RETOUCHING.  43 

CHAPTER  X. 

DIFFICULTIES   AND   IMPERFECTIONS. 

T"*  HE  different  qualities  of  the  negative  as  to  sharp- 
ness may  be  considered.  Sharpness  in  focusing 
quite  strongly  to  the  front  and  a  small  diaphragm  used 
is  a  harder  negative  to  retouch,  and  if  many  imperfec- 
tions exist,  such  as  freckles  and  the  like,  especially  if 
under-timed,  is  a  very  distressing  negative  to  retouch. 
In  an  under-timed  the  image  has  not  had  time  enough 
to  let  the  warmer  tones  act  upon  the  sensitive  emul- 
sion to  bring  these  colors  in  relative  intensity  to  the 
other  tones,  producing  a  harsh  and  hard  effect.  Each 
imperfection  is  sharply  defined  in  outline,  making  much 
more  retouching.  Longer  exposure  saves  retouching  //  j 
and  gives  softer  effects.  This  is  why  so  many  pho- 
tographers over-time  and  over-develop.  A  well-timed 
negative  gives  the  best  result  and  is  easiest  to  retouch. 
Strong  illumination  makes  more  retouching. 

Skins  that  contain  freckles  and  the  like  require 
more  retouching.  The  operator  can  overcome  some 
of  this  by  having  the  subject  wash  his  face  in  warm 
water,  rubbing  it  to  create  a  harmony  of  color  tones 
all  over  the  face.  Application  of  powder  and  longer 
exposure  also  aids  the  harmony  of  tones. 

In  some  negatives,  every  imperfection  lies  more  in 
suggestion  and  is  more  difficult  for  a  beginner,  but 
making  beautiful  negatives  to  handle  for  the  profes- 
sional. Sharper  focused  negatives  are  best  for  be- 
ginners, as  the  imperfections  are  more  distinct,  more 


44  ARTISTIC   RETOUCHING. 

easily  discerned.  In  an  out-of-focus  negative  the  be- 
ginner will  find  it  difficult  to  get  rid  of  some  of  this  in- 
distinctness. It  can  be  accomplished  with  a  firmer 
and  bolder  stroke,  making  every  stroke  count. 

There  are  imperfections  more  or  less  in  every  nega- 
tive and  when  they  are  only  in  suggestion,  they  are  a 
blessing  to  the  picture  if  properly  handled;  giving  an 
artistic  quality  to  the  picture  if  strokes  are  made  with 
regard  to  right  weight,  length,  direction  and  place- 
ment. Stroke  out  each  imperfection  until  it  loses  itself 
and  becomes  an  effect.  This  effect  requires  a  certain 
decisiveness  to  produce  life  which  was  destroyed  by 
injudicious  timing,  perhaps,  lighting  or  developing. 
This  retouching  can  make  the  negative  a  grander  suc- 
cess by  this  work  if  rightly  done.  Retouching  has  its 
grand  qualities,  but  only  by  a  first-class  workman,  who 
understands  the  higher  and  artistic  qualifications  neces- 
sary. Keep  retouching  luminous,  not  load  it  up  by 
much  work,  which  only  produces  a  dead  effect. 

The  color  of  the  negative  has  much  bearing  on  re- 
touching, if  the  negatives  are  of  the  extremes  in  color 
especially.  A  very  thin,  grey  negative,  particularly  of 
a  shadow  lighting,  if  work  is  required  in  that  shadow, 
more  work  is  necessary,  because  every  stroke  that  is 
made  has  its  intensity  (if  even  lightly  done),  com- 
pared with  the  surrounding  clearness  or  transparency 
of  the  shadow,  that  when  printed  shows  every  stroke 
that  is  made  instead  of  its  effect.  The  consequence 
is  the  whole  shadow  must  be  worked  all  over  so  the 
strokes  become  an  eft'ect  in  relation  of  one  to  the 
other ;  bringing  the  shadow  to  the  intensity  of  the  effect 
the  stroke  has  on  the  transparency  of  the  shadow.  This 
is  only  true  of  very  thin,  grey  negatives  in  shadow. 


Drawing  showing  modeling. 


ARTISTIC   RETOUCHING.  45 

On  the  other  hand,  the  retouching  of  an  intense 
negative  with  a  great  deal  of  color  requires  very  careful 
work,  because  of  its  slow  printing  qualities,  having  time 
to  pick  out  each  little  mark  or  stroke  with  minuteness, 
showing  everything  in  the  print.  The  negative  best  for 
retouching  is  the  one  that  possesses  fine  printing  quali- 
ties. Such  a  negative  to  the  writer  is  one  containing 
an  olive  tone.  A  negative  possessing  more  color  and  of 
an  intensity  has  more  of  a  tooth  to  the  gelatine  film ; 
the  pencil  taking  easier;  the  yellow  having  some  effect 
on  the  emulsion,  making  the  pores  more  granular,  while 
the  colder  tone  negative  possesses  a  smoother,  closer, 
tighter  grain.  A  first-class  retoucher  understands  the 
printing  qualities  of  the  different  colors  and  intensi- 
ties of  negatives ;  thereby  knowing  the  balance  of 
light  and  shade,  the  printing  qualities  of  each  negative 
and  what  to  do,  which  leads  to  the  heading  of  the  next 
chapter. 

The  illustration  following  shows  the  direction  of  the 
strokes  where  extra  modeling  is  necessary.  This  being 
a  free-hand  drawing,  shows  the  modeling  of  every 
part,  which  is  not  necessary,  however,  in  the  retouching 
of  a  negative.  The  drawing  showing  the  anatomy  may 
be  an  assistance  to  prevent  over-doing,  a  clearer  un- 
derstanding may  be  acquired  of  the  true  form  of  the 
head  by  its  acquaintance.  To  use  nature  as  a  supreme 
example  is  of  the  highest  importance.  Thus  the 
grandest  resudts  have  been  attained  by  artists  and  pho- 
tographers who  have  walked  close  by  her  side.  So 
the  retoucher,  to  preserve  nature  must  understand  her, 
and  touch  only  those  places  that  really  could  be  per- 
fected without  destroying  her  true  character. 


46  ARTISTIC   RETOUCHING. 

CHAPTER  XL 

MODKUNG. 

jVI  OW  that  the  student  has  become  quite  acquainted 
with  the  stroke,  the  most  important  part  of  re- 
touching may  come  under  consideration,  namely,  mod- 
ehng.  To  a  sculptor,  modeling  is  shaping,  or  forming 
out  of  clay  or  marble  the  hidden  image ;  to  an  artist,  it 
is  to  shape  or  form  with  strokes  of  the  brush  the 
image  on  canvas ;  to  the  retoucher  the  image  is  already 
there,  but  imperfectly  in  the  negative  state  to  be  per- 
fected for  the  positive,  the  picture — image. 

To  the  retoucher,  modeling  is  shaping  or  forming, 
not  alone  that,  but  keeping  what  is  already  in  the  nega- 
tive. The  former  part  of  the  definition  means  very 
clever  workmanship,  to  be  able  to  change  or  form  any 
feature  necessary.  This  can  be  done  and  grandly.  It  is 
certainly  an  evidence  of  the  highest  ability  as  a  re- 
toucher. Then  again,  fully  as  much  stress  should  be 
paid  to  the  latter  part  of  the  definition,  keeping  what  is 
already  in  the  negative,  which  is  without  question  also 
an  evidence  of  the  highest  ability.  The  most  of  the 
[modeling  and  the  best  modeling  is  often  done  simply 
[in  the  clearing  up  of  the  imperfections  and  no  more. 
It  takes  a  most  able  retoucher  to  keep  from  destroying 
the  most  delicate  of  delicate  modeling  of  any  of  the  fea- 
tures the  image  already  possesses. 

Each  feature  of  the  face  contains  curves,  no  matter 
how  sharply  featured  a  face  may  be,  it  tends  to  curves 
or  roimdness.     In  these  curves  are  countless   undis- 


ARTISTIC   RETOUCHING.  4? 

tinguishable  gradations  to  be  left  alone  and  no  one 
but  those  skilled  in  retouching  can  preserve  these. 
These  conditions  exist  in  a  well-lighted,  well-exposed 
and  a  well-developed  negative.  Notice  the  forehead, 
the  cheek,  the  nose,  the  lip,  the  chin,  nothing  but  a 
continuation  of  curves ;  not  even  a  square  inch  without 
a  curve  or  a  slight  curve. 

One  of  the  most  important  steps  in  modeling  is  to 
start  retouching  from  the  high-lights  and  work  down 
into  the  lower  tones,  the  half-tones  or  shadows,  or  both, 
whatever  that  lower  tone  is  that  surrounds  that  high- 
light. By  starting  from  the  upper  pitch  or  higher  key, 
the  retoucher  can  hold  together  or  bind  together  the 
gradations  in  their  relative  values,  one  with  the  other. 
A  piano-tuner  starts  with  a  pitch  and  brings  all  other 
notes  in  true  values  or  harmony,  so  the  retoucher  must 
start  with  a  key  to  bind  all  tones  together  to  produce 
harmony. 

The  highest  light  on  the  face  is  on  the  nose  or 
forehead,  depending  on  the  shape,  condition  or  color  of 
these  respective  features.  If  the  nose  is  large  and  pro- 
nounced, this  light  is  probably  the  highest,  bringing 
that  feature  into  prominence.  If  the  forehead  is  large 
and  possesses  strong  prominences,  then  the  forehead 
may  contain  the  highest  light.  The  conditions  of  the 
skin  with  reference  to  oilyness  or  color  has  its  effects. 
Oily  skins  reflect  more  light,  accentuating  the  high- 
lights beyond  true  relation  of  tones.  Sometimes  in 
different  parts  of  the  face,  the  skin  is  whiter,  possess- 
ing more  of  the  cool  tones ;  in  the  ordinary  plate  these 
chemical  rays  of  light  affect  the  plate  more  than  the 
surrounding  warm  tones.     The  result  is  this  feature 


48  ARTISTIC   RETOUCHING. 

may  possess  the  highest  light,  this  often  occurs  with  the 
forehead. 

The  retoucher  must  take  into  consideration  the 
shape  of  the  features  together  as  a  whole  and  place  or 
preserve  the  highest  light  where  the  face  has  its  highest 
claim.  There  can  be  no  positive  rule  as  to  where  this 
highest  light  should  be,  because  of  the  varied  shapes 
of  the  features  in  different  faces. 

In  plain  lighting  three-quarter  view  of  the  face,  one 
side  is  well  lighted  while  the  other  is  in  shadow  or 
nearly  so;  supposing  a  45°  angle  source  of  light  is 
used,  this  light  giving  character  with  roundness.  With 
this  lighting,  one  of  the  highest  points  is  on  the  fore- 
head, one  on  the  cheek,  a  light  running  down  on  the 
bridge  of  the  nose,  a  lower  light  on  the  upper  lip,  and 
another  on  the  chin.  Compare  the  light  on  the  lip  and 
chin  with  the  light  on  the  light  side  of  the  face  and 
not  with  the  light  on  the  shadow  side.  The  shadow 
has  a  light  or  a  suggestion  of  a  light ;  this  light  even 
at  its  brightest  is  lower  in  tone  than  the  cheek  in  the 
light,  this  adds  to  true  roundness  or  perspective.  Every 
object  possesses  its  highest  light  and  its  deepest 
shadow,  the  gradations  between  these  two  points  should 
be  well  preserved  in  their  proper  values ;  the  highest 
half-shadow  being  darker  than  the  lowest  tone  of 
direct-light,  or  half-light.  The  modeling  of  the  respec- 
tive parts  of  these  may  now  be  considered.  Model  with 
values  of  light  and  shade  and  natural  color. 

To  become  a  most  efficient  retoucher,  one  must 
)iavg  an  idea :  then  work  all  things  together  to  accom- 
plish this  idea ;  for  even  a  few  ill-guided  strokes  may 
change  an  effect  or  a  grand  expression. 


ARTISTIC   RETOUCHING.  49 

CHAPTER  XII. 

THE    FOREHEAD. 

T  N  RETOUCHING  each  feature,  finish  as  the  work 
*  proceeds,  avoid  scattering  the  work,  pull  together 
each  part,  then  all  parts  into  one.  Consider  well,  study 
the  technique,  modeling  and  the  artistic  qualities ; 
always  remembering  it  is  well  to  know  when  to  stop. 

No  two  foreheads  are  alike  in  form ;  the  skulls  of 
races  and  nations  also  differ  widely  in  form ;  wherein 
these  differences  occur,  there  is  just  the  differences  of 
character.  In  this  lies  the  characteristics  of  each  race, 
indicating  the  great  intellectual  powers,  strong  moral 
character,  spiritual  feelings,  the  power  of  ideality  or 
conscientousness.  As  these  differences  exist  among 
races,  individuals  of  the  same  race  also  differ  in  abili- 
ties and  characteristics.  The  cranium  of  each  indi- 
vidual has  its  elevations  and  depressions  which  indi- 
cate to  a  great  extent,  if  not  all,  the  intellectual  and 
moral  character  of  the  man.  If  this  were  not  true,  why 
this  difference  of  character,  disposition  and  abilities? 

This  being  the  case,  why  round  out  all  foreheads 
alike?  Notice  the  beauty  in  the  succession  of  curves 
produced  by  the  elevations  and  depressions,  how  it 
curves  upward  and  backward  to  the  hair  and  on  each 
side  too,  at  the  temples,  a  continuation  of  beautiful 
curves,  no  flat  places  existing. 

There  is  no  part  of  the  face  that  is  as  much  in  repose 
as  the  forehead.  In  talking,  singing,  thinking,  eating 
or  what  not,  the  features  are  in  action,  in  harmony  with 


50  ARTISTIC   RETOUCHING. 

what  is  being  done,  but  by  looking  at  the  forehead,  it 
is  not  very  often  that  we  could  tell  the  expression. 
The  forehead  proper  is  more  the  individual  all  the 
time;  the  rest  of  the  features  change  according  to  the 
thots  and  actions.  An  individual  may,  however,  pos- 
sess a  beautiful  forehead,  but  having  made  poor  use  of 
his  opportunities  or  abilities,  possesses  not  the  intellect 
or  character  of  one  lacking  in  grandeur  of  appearance 
of  forehead,  but  having  spent  his  years  in  profit. 

The  intellect  is  a  part  of  the  character,  character  is 
the  individual.  It  is  the  face  that  stamps  the  char- 
acter. Since  the  forehead  is  typical  of  the  man  and 
the  features  designate  more  the  man's  thots  and  actions 
during  life,  each  must  be  handled  with  great  care  and 
thot.  Some  foreheads  are  low  and  receding,  some  are 
broad,  others  are  high  and  straight. 

In  the  three-quarter  view  of  the  face,  plain  light, 
there  are  usually  four  elevations  in  the  forehead,  the 
two  nearest  the  source  of  illumination  contain  the 
highest  light,  either  the  one  above  the  eye-brow  or  the 
one  above  that.  To  retouch  the  forehead,  begin  with 
the  highest  light,  clear  it  up  of  its  transparencies,  then 
the  Tmperfectiorfs,  or  clouds,  handling  these  as  de- 
scribed before,  working  over  half  way  into  the  half- 
tone toward  the  next  highest,  then  stop;  now  start  in 
the  next  highest  light,  work  in  the  same  way,  meeting 
or  blending  where  the  work  was  stopped  before.  In 
this  manner  true  modeling  may  be  preserved.  From 
there  work  over  half  way  toward  the  next  high  light, 
theri_stop ;  start  with  that  light  and  continue  in  this  way 
'till  the  modeling  is  complete,  being  careful  to  blend 
nicely  into  the  shadow.     The  light  here  usually  ends 


ARTISTIC   RETOUCHING.  51 

quite  abruptly,  soften  this  to  complete  the  curve  of  the 
forehead,  great  care  not  to  destroy  the  depth  of 
shadow.  Do  not  over-model,  it  makes  the  forehead 
appear  boneless.  Preserve  the  anatomy  as  well  as  the 
physiognomy.  On  the  other  side  of  the  forehead,  work 
down  into  the  temple  and  stop,  preserving  the  true 
form  of  the  temple.  Supposing  that  the  true  character 
of  the  forehead  has  been  carefully  kept,  sit  well  back 
and  examine  the  forehead  as  a  whole,  the  parts  in  re- 
lation to  each  other,  then  put  on  the  finishing  touches 
if  there  are  any. 

Study  carefully  the  length,  placement  and  direction 
of  stroke  described  in  another  chapter.  In  the  finishing 
touches  the  strokes  may  be  made  the  longest,  pulling  or 
binding  the  parts  together.  Very  often  all  the  modeling 
is  completed  when  the  imperfections  are  removed,  with- 
out any  more  strokes.  If,  after  all  the  imperfections 
are  removed  and  there  is  any  more  modeling  to  be  done, 
if  any  abruptness  occurs  between  the  high  light  and 
half-tone  or  shadow,  model  with  strokes  made  in  the 
direction  in  which  the  muscles  run. 

A  retoucher  should  thoroughly  acquaint  himself 
with  the  drawing  of  the  facial  muscles.  The  changes 
of  expression  are  due  to  the  changes  of  the  muscles. 
The  accompanying  chart  contains  the  leading  muscles, 
only  those  that  influence  the  retoucher  as  to  modeling. 
Notice  the  plate  also  illustrates  the  muscles  and  their 
direction  showing  the  lights  and  lower  tones,  showing 
what  muscles  receive  the  lights  and  lower  tones  with 
the  bony  structure  of  the  head.  Notice  the  muscles  in 
the  cheek  where  the  light  falls,  how  it  outlines  the 
form  of  a  beautiful  lighting,  then  its  half-tone  on  the 


52  ARTISTIC   RETOUCHING. 

side  of  the  cheek  and  what  muscles  and  in  what  direc- 
tion they  run,  seeming  to  help  the  modeling  of  the  face. 
Notice  the  location  that  produces  the  hollow  of  the 
cheek.  Notice  the  direction  of  the  muscles  of  the 
forehead,  chin,  lips,  eyes,  nose  and  temples,  how  they 
run  with  the  tones  that  fall  on  these  respective  places. 
See  if  there  is  not  harmony  in  both  ;  see  if  it  was  not  all 
to  form  beauty.  The  symmetry,  the  harmony,  the 
working  together  or  pulling  together  of  effects  in  na- 
ture is  wonderful. 

Some  of  the  muscles  and  their  uses  are  considered : 

1.  Occipito — frontalis.  The  muscle  of  the  forehead 
with  the  muscle  of  the  back  of  the  head  unite. 

2.  Orbicularis  palpebrarum.  The  muscle  which 
closeis  and  opens  the  eye.  A  muscle  of  the  eyelids  also 
helps  to  do  the  same. 

3.  The  muscles  which  change  the  form  of  the  nose. 

4.  Orbicularis  oris.  The  muscle  which  runs  around 
the  mouth,  giving  action  to  the  lips. 

5.  The  two  muscles  which  give  action  to  the  lips 
also,  raising  the  lips  and  the  corner  of  the  mouth. 

6.  Levator  labii  supioris. 

t.  Zygomaticus.  The  two  muscles  which  are  over 
the  cheek-bone. 

8.  Muscle  used  in  laughing. 

9.  Sevator  menti.  The  muscle  which  raises  and 
lowers  the  under-lip. 

10.  Quadratus  menti.  This  muscle  attaches  itself  to 
the  comer  of  the  mouth. 

11.  The  muscle  which  raises  the  chin. 

12.  Muscles  of  the  temple.  These  help  to  raise  the 
jaws,  assisting  in  the  mastication  of  food, 


.\\/r  /:.'<f:^i.i^'" 


Drawing  showing  muscles. 


ARTISTIC   RETOUCHING.  53 

13.  These  muscles  also  assist  the  above  muscles 

(13). 

14.  Platysuma  myoids.  The  great  muscles  which 
cause  the  head  to  move. 

Refer  frequently  to  the  muscles  of  the  face  for  cor- 
rect modeling.  The  artist  who  understands  muscles 
and  their  actions  the  best,  accomplishes  the  highest 
and  best  work.  An  artist  must  possess  a  knowledge  of 
the  skeleton  or  the  anatomy  of  the  human  figure,  for 
in  this  consists  the  foundation  of  form.  It  would  not 
be  amiss  to  state  that  the  retoucher  should  understand 
anatomy,  for  it  is  positive  he  could  do  better  work, 
because  retouching  in  reality  is  form. 

If  pastel,  water-color  or  crayon  artists  took  more 
consideration  of  the  anatomy  of  the  human  figure  with 
its  muscles  and  their  actions,  there  would  not  be  so 
much  inferior  work  that  has  flooded  the  country.  This 
is  the  base  of  all  true  substantial  work.  A  retoucher 
has  more  to  do  with  the  bones  and  muscles  than  he  is 
aware  of  at  first.  A  careful  study  of  these  prevents 
overdoing  or  a  taking  out  of  the  strength  of  the  fea- 
tures, such  are  more  life-like. 

The  muscles  of  the  forehead  run  up  and  down. 
There  being  two  sets  of  muscles  running  across  over 
the  skull.  If  one  of  these  contracts  while  the  other 
does  not,  premature  wrinkles  exist,  termed  transverse 
furrows.  If  both  muscles  act  in  unison,  then  the  skin 
is  stretched  across  the  forehead  tightly  without 
wrinkles.  If  wrinkles  exist  from  this  cause,  they  better 
be  removed,  as  they  are  not  yet  a  part  of  the  character 
of  the  individual. 

It  will  be  found  a  little  difficult  to  remove  lines  at 


54  ARTISTIC   RETOUCHING. 

first,  without  a  little  practice.  Place  the  pencil  more 
at  right  angles  with  the  negative,  using  straight  lines 
lengthwise  of  the  wrinkle.  Make  the  stroke  heavy 
immediately,  heavy  enough  to  remove  the  transparency 
of  the  place  to  meet  the  surrounding  color.  By  using 
light  strokes,  having  to  go  over  and  over,  glazes  the 
negative  and  trouble  arises.  The  negative  sometimes 
dries  in  relief,  more  care  should  be  taken  in  their  re- 
moval. 

Where  wrinkles  occur  from  character  or  age  they 
should  be  preserved,  the  amount  preserved  depends  on 
the  individual.  The  source  of  light  brings  out  more 
and  deeper  lines  than  is  usually  seen  in  ordinary  cir- 
cumstances. The  light  strikes  the  ridge  of  the  wrinkle 
and  this  casts  a  shadow,  the  consequence  the  wrinkles 
appear  deeper  and  longer.  If  they  exist  as  such,  they 
should  be  subordinated  and  shortened  frorn  each  side. 
Shortened  especially,  if  they  exist  from  one  side  of  the 
forehead  to  the  other;  if  left  long,  they  attract  first 
attention.  If  many  occur  remove  some,  especially  the 
upper  and  minor  ones.  One  wrinkle  should  be  the 
deepest,  of  every  line  have  its  deepest  accent  placed 
toward  its  centre. 

Furrows  running  upward  from  the  root  of  the 
nose,  or  vertical  furrows,  often  seen  when  the  eye- 
brows are  contracted,  should  be  either  softened  or  re- 
moved. Remove  if  due  to  a  frown,  but  if  from  force 
of  character,  slightly  subdued  is  sufficient.  If  caused 
by  sorrow  or  physical  pain,  best  to  be  toned  down  a 
great  deal,  not  entirely,  however.  It  is  a  part  of  the 
individual.  Always  leave  the  strongest  part  of  the 
furrow  at  the  root  of  the  nose,  and  let  gradually  lose 


ARTISTIC   RETOUCHING.  55 

itself  in  the  forehead.  For  a  beginner  it  is  difficult  to 
see  the  difference  between  the  imperfections  and  the 
gradations,  especially  the  half-tones.  The  best  way  to 
train  the  eye  is  to  stand  away  from  the  negative  and 
study  the  tones  or  forms  with  the  proof;  then  look  a 
little  closer  and  observe  the  imperfections  in  those 
tones. 

Where  there  is  a  prominence,  there  exists  a  half- 
tone or  a  lower  tone.  These  prominences  are  beautiful 
and  should  be  duly  observed,  but  as  a  usual  case  they 
are  never  in  nature  so  strong,  that  in  looking  at  the 
individual  they  are  the  first  thing  that  is  seen,  which, 
however,  can  sometimes  be  said  of  a  negative.  The 
one  source  of  light  and  nature  not  taken  in  its  true 
values  of  light  and  shade  are  some  of  the  causes  of 
this  accentuation,  high  lights  being  cool,  shades  warm. 

If  high-lights  are  broken  and  irregular,  caused  by 
poor  lighting  or  by  the  shape  of  the  forehead,  unite ; 
best  give  more  simplicity,  thus  adding  beauty  and  yet 
not  destroying  the  character. 

While  retouching  the  forehead  use  great  care  to 
observe  the  definiteness  and  distinctiveness  of  its  tex- 
ture according  to  the  law  of  perspective  mentioned 
before.  The  texture  is  stronger  nearer  the  centre  and 
above  the  eye-brows ;  then  it  becomes  finer  and  less 
distinct  as  the  forehead  recedes,  approaching  the  hair 
and  also  where  it  rounds  off  into  the  temples.  Make 
the  strokes  lighter  and  fewer,  only  making  as  many  as 
is  positively  necessary.  In  retouching  near  the  eye- 
brows, do  as  little  as  possible  to  avoid  making  a  sharp 
line  on  the  upper  edge  of  the  brow,  as  this  is  not  nature. 
Leave  original  softness,  and  if  not  soft,  make  it  so. 


56  ARTISTIC   RETOUCHING. 

The  same  may  be  said  of  the  outline  of  the  hair.  Leave 
no  straight,  hard  Hnes,  break  up  by  lights  or  soften. 
Observe  the  law  of  perspective  as  this  gives  the  fore- 
head its  true  and  artistic  qualities.  If  the  hair^asts  a 
shadow  on  the  forehead,  retouch  so  the  shadow  is 
deepest  near  the  hair,  keeping  nature's  effect.  Destroy 
not,  for  nature  casts  its  own  shadow.  Keep  nature's 
simplicity,  notice  the  breadth,  strength  and  simplicity 
of  the  forehead.  How  grand  in  its  simplicity  of  form, 
notwithstanding  it  is  a  continuation  of  curves ;  the 
strength  of  its  bony  structure  also  notice,  and  how 
easily  all  this  may  be  destroyed ;  how  it  becomes  in- 
sipid and  weak  by  over-work,  the  same  may  be  said  of 
any  feature.  There  is  grandeur  in  simplicity  so  no- 
ticeable in  the  modeling  of  the  numerous  curves,  where 
complication  would  seem  to  exist.  By  simplicity  does 
not  mean  flatness  or  smoothness,  but  with  it  goes  posi- 
tivenss  or  definiteness,  strength  and  character. 

Know  what  to  do  and  do  with  feeling;  work  from 
one  high-light  to  another  and  vice  versa ;  pull  together, 
in  doing  so,  take  a  space  so  that  the  work  may  be 
pulled  together,  instead  of  holding  ones  self  too  much 
in  a  little  space;  the  latter  causes  more  strokes  and 
shorter  ones,  while  the  former  method,  the  imperfec- 
tions are  seen  in  larger  forms  and  longer  strokes  may 
be  used. 


ARTISTIC   RETOUCHING.  57 

CHAPTER  XIII. 

THE  CHEEK. 

'T'  HERE  are  as  many  different  kinds  of  cheeks  as 
there  are  foreheads,  noses,  eyes,  mouths  and 
chins;  cheeks  are  round  and  full,  angular,  hollow, 
thin  and  pale,  soft  and  flabby,  dimpled,  rosy  and 
chubby.  There  are  cheeks  that  present  a  less  distinct 
outline,  yet  not  full  and  round,  but  in  truth  a  beauti- 
ful cheek.  The  hollow  or  angular  expresses  more  of 
the  masculine  or  muscular.  The  form  of  the  cheek 
has  very  much  to  do  with  the  beauty  of  the  contour  of 
the  face. 

To  keep  the  true  modeling,  observe  the  gradation  of 
weight  of  stroke  as  to  the  gradations  of  the  cheek ;  no- 
tice that  the  sides  of  the  face  go  away  in  perspective; 
that  here  the  texture  is  smaller  and  less  distinct  as  it 
rounds  away  farther  and  farther  to  the  sides  of  the 
face. 

Now  that  the  form  of  the  cheek  is  studied,  start  in 
the  highest  light,  which  is  on  the  cheek-bone,  removing 
the  transparencies,  then  the  clouds  or  imperfections, 
working  down  and  each  way  into  the  next  lower  tones ; 
if  another  and  lower  light  exists  near  the  labial  fur- 
row, then  start  from  this  and  work  toward  the  highest 
light,  uniting  somewhat  the  two  lights,  keeping  the 
delicate  modeling.  After  all  the  imperfections  are  re- 
moved and  more  modeling  is  required,  if  a  harshness 
still  exists,  make  the  strokes  in  the  direction  in  which 
the  muscles  run.    Study  the  plate  on  muscles.    Always 


58  ARTISTIC   RETOUCHING. 

remember  to  do  all  the  clearing-up  with  strokes  in  the 
direction  in  which  the  imperfections  exist  the  longest, 
whatever  that  direction.  If  after  the  first  stroke  is 
made,  the  rest  of  the  imperfection  will  suggest  the 
direction  of  the  next  stroke  and  so  on. 

A  hollow  in  the  cheek  due  to  color  or  a  sunken 
cheek  from  age,  care  or  ill-health,  or  because  of  its 
natural  shape,  is  a  great  occurrence.  Subdue  this 
hollow,  the  rest  of  the  face  will  guide  you  as  to  how 
much  to  soften;  observe  the  harmony  that  exists  in 
nature  of  one  feature  in  relation  to  another,  also  know 
the  desire  of  the  customer.  Much  depends  upon  the 
correct  modeling  of  the  cheek,  it  being  a  very  easy  mat- 
ter to  over-do  a  cheek  already  round,  in  fact  a  diffi- 
cult (Dne  to  model  for  a  beginner.  Dimples  are  usually 
too  strongly  accented,  when  subduing,  keep  their  true 
form ;  in  man,  might  be  better  taken  out  entirely  as  it  is 
more  feminine. 

The  retouching  of  the  lines  under  the  eye,  the  line 
by  the  nose  or  the  labial  furrow,  is  in  fact  modeling 
part  of  the  eye  and  nose.  The  lines  under  the  eyes  are 
usually  too  strong  either  from  the  source  of  light  or 
color,  or  both.  There  is  often  seen  a  red  or  brown 
tone  which  only  intensifies  the  depth  of  the  lines.  The 
expression  is  quite  changed  from  the  original  and  is  an 
injustice,  because  it  takes  from  youth  and  beauty. 

Every  line  has  its  accent  or  deepest  place,  according 
to  the  shape  of  that  particular  line  designates  its  place- 
ment. Notice  under  the  eye  near  the  inside  corner  of 
the  eye,  the  line  is  the  deepest.  Preserve  carefully. 
Lines  should  be  softened  and  shortened  if  necessary  to 
add  beauty.     Soften  by  starting  at  the  ends  and  work 


ARTISTIC   RETOUCHING.  59 

gradually  toward  the  accent,  softening  this,  if  neces- 
sary, to  keep  harmony;  doing  all  with  a  stroke  in  the 
direction  of  the  line  itself,  blend  from  the  higher  points 
into  the  line  if  extra  softening  is  necessary.  The 
stroke  may  be  nearly  straight  to  prevent  a  positive 
grain.  The  stippler,  or  the  one  who  works  for  a  positive 
grain,  has  as  much  grain  effect  in  the  character  lines 
as  anywhere  else  in  the  face.  This  is  a  serious  mis- 
take. Go  back  to  the  law  of  perspective  and  atmos- 
phere. The  character  lines  in  nature  possess  a  finer 
skin  in  themselves,  more  as  a  suggestion  of  pores  in 
appearance,  this  all  naturally  gives  perspective  and 
atmosphere  to  all  the  parts ;  something  that  the  stippler 
or  grain  worker  destroys.  He  destroys  the  intangible, 
invisible  something,  the  something  that  lies  in  sugges- 
tion, that  makes  the  picture.  It  is  in  these  places  that 
these  artistic  qualities  exist  to  a  great  degree.  If  these 
lines  possess  a  grain  as  the  surrounding  parts,  they  are 
clogged  or  loaded,  veiled  with  a  something  that  na- 
ture does  not  possess ;  something  that  takes  out  the 
clearness  or  luminous  qualities  of  the  print.  This 
grain  helps  to  bring  the  lines  forward,  out  of  true 
perspective.  These  lines  go  back,  are  deeper  or  farther 
away  than  their  surrounding  parts,  such  as  the  fore- 
head or  cheek,  or  they  would  not  be  lines.  This  is  per- 
spective, another  reason  why  the  work  should  rather 
lie  more  in  suggestion  than  in  a  positiveness  as  that  of 
the  forehead  or  cheek. 

In  working  in  the  lines  under  the  eyes  usually  leave 
the  one  immediately  under  the  eye  somewhat  deeper 
ilian  the  one  beneath  it.  Do  not  blend  them  as  one,  a 
separation  by  a  little  light  exists  often,  preserve  it  even 


60  ARTISTIC   RETOUCHING. 

tho  it  is  raised  to  keep  the  form.  Do  not  fill  the  lines 
till  they  lose  their  definiteness  of  form,  a  soft,  delicate 
decisiveness  that  exists  is  very  easily  destroyed,  a  single 
stroke,  or  two  or  three  strokes,  may  do  this.  If  the 
lower  line  runs  down  into  the  cheek,  which  often  oc- 
curs more  especially  from  color  (this  being  the  dividing 
of  the  lights  on  the  cheek  mentioned  before),  soften 
away  the  line  effect,  but  keep  the  gradation  or  delicate 
tone,  letting  the  line  gradually  taper,  working  up  to- 
ward the  accent,  but  preserving  it  here.  The  sharper 
edge  of  this  line  is  its  lower  part  from  the  corner  of  the 
eye  out. 

The  labid  furrow  or  the  line  by  the  nose  should  be 
delicately  and  thoughtfully  handled  also.  It  starts  a 
little  above  the  side  of  the  wing  of  the  nose  and  runs 
often  down  to  the  corner  of  the  mouth.  If  it  adds  to 
the  face  without  destroying  the  character,  the  end  near 
the  mouth  may  be  blended  away  entirely  or  softened 
at  least,  all  depending  on  the  character  of  the  individ- 
ual. Good  judgment  comes  into  play  here.  Keep, 
however,  its  accent  part  near  the  wing  of  the  nose. 
Its  deepest  point  is  at  that  place,  or  should  be,  to  add 
beauty.  In  a  laugh  or  broad  smile  the  deepest  place  is 
nearer  the  mouth  however.  Now  look  at  the  cheek 
as  a  whole  to  see  if  any  finishing  touches  are  necessary, 
preserve  its  many  tender  gradations,  making  strokes 
lighter  and  fewer,  as  parts  of  the  face  go  away  in  per- 
spective. 


ARTISTIC    RETOUCHING.  61 


CHAPTER  XIV. 

THE  EYE. 

T^  HE  eye  is  the  life  of  the  face.  It  is  well  termed 
the  "window  of  the  soul."  It  is  also  the  seat  of 
feminine  beauty.  The  most  delicate  handling  should  be 
used  in  its  treatment.  It  requires  the  greatest  of  study 
as  to  its  form  or  drawing  and  its  shades  and  softness. 
We  say  there  are  no  sharp  lines  in  the  face ;  the  edge 
of  the  lids  may  be  said  to  be  sharply  outlined,  but  see 
how  beautifully  nature  has  clothed  them  with  a  soft- 
ness by  eyelashes  to  tone  their  edges.  How  many 
retouchers  only  too  sadly  make  dark,  straight,  stiff  and 
harsh  lines  for  eyelashes,  not  understanding  the  deli- 
cacy of  nature.  The  eyelashes  most  generally  lay  in 
masses,  one  mass  here  and  another  there,  laying  in  a 
suggestive  way,  not  as  separate  hairs.  Notice  too  that 
the  eye,  when  opened  and  examined,  the  viewer  sees 
the  lashes  foreshortened,  and  not  each  one  out  at  full 
length,  the  former  giving  an  exceedingly  soft  and 
beautiful  natural  effect.  The  upper  eyelashes  tend  to 
curve  upwards,  while  the  lower  downwards. 

The  white  of  the  eye  is  often  raised  to  a  surprising 
pitch  by  the  inartistic  retoucher,  also  spoiling  its 
effect  by  placing  a  sharp  line  around  the  iris,  thereby 
destroying  the  simplicity  and  softness  of  outline;  a 
delicate  blended  effect  existing  between  the  white  of 
the  eye  and  the  iris.  The  pupil  often  loses  its  atmos- 
pheric depth  by  making  it  still  darker,  cutting  away  the 


62  ARTISTIC   RETOUCHING. 

film  to  the  glass  with  a  knife  or  etching  tool,  which  is 
often  done. 

There  exists  sometimes  a  number  of  reflected 
lights,  usually  at  the  opposite  side  from  which  the 
direct  light  falls ;  more  noticeable  in  light  eyes  in  the 
iris,  giving  a  blind  or  deadened  eflfect  if  too  strong. 
These  reflected  lights  should  be  subdued  or  removed 
by  etching.  There  is,  however,  a  bright  light  on  the 
iris  touching  the  pupil,  on  the  side  from  which  the 
direct  rays  of  light  come.  This  is  the  high-light  or 
"catch-light."  It  only  exists  as  a  direct  light,  possess- 
ing a  great  brightening  efifect  to  the  eyes.  The  shape 
of  these  "catch-lights"  is  governed  by  the  shape  of  the 
aperature  of  the  sky-light.  Sometimes  it  starts  from 
the  pupil  and  extends  even  on  the  white  of  the  eye. 
This  should  be  reduced  entirely  by  etching  all  off  the 
white  of  the  eye  and  part  off  the  iris,  leaving  a  separa- 
tion between  the  catch-light  and  the  white  of  the  eye 
on  the  iris.  The  shape  of  this  light  should  be  round 
or  wedge  shaped  as  the  artist  paints  it.  If  the  eye  in 
the  shadow  side  of  the  face  is  at  all  illuminated,  it  will 
also  contain  a  catch-light.  In  this  eye  this  light  should 
not  be  as  large  or  as  brilliant,  to  preserve  simplicity 
in  the  shadow.  Detail  in  the  lights  and  simplicity  in 
the  shadows  add  strength  and  beauty  to  the  whole  pic- 
ture. Eyes  that  extend  outward,  the  catch  lights 
should  be  more  subdued,  large  catch  lights  would  only 
make  the  eyes  protrude  the  more.  In  deeper  set  eyes, 
the  larger  and  more  brilliant  catch  lights,  bring  the 
eyes  more  forward.  Catch-lights  should  never  seem  to 
stand  out  away  from  the  eye,  which  occurs  if  too  bril- 
liant.    In  pale  blue  or  gray  eyes,  the  eyes  are  often 


ARTISTIC   RETOUCHING.  63 

too  light,  because  of  the  chemical  rays  of  the  plate  act- 
ing more  quickly  on  the  emulsion.  Such  eyes  should 
not  be  illuminated  by  as  strong  a  light,  but  if  such  ex- 
ists the  retoucher  must  etch  down  to  bring  back  to 
nature,  which  was  over-done.  Brown  eyes,  or  other 
eyes  which  were  taken  black,  seemingly  minus  the 
iris,  pencil  in  the  iris  here  or  there,  some  parts  more 
suggestive.  If  the  white  of  the  eye  is  too  high  in  tone, 
also  because  of  the  color  tone,  reduce  by  etching.  The 
simplicity  of  the  shadow  is  often  destroyed  by  this 
untruth  to  nature  and  the  white  of  the  eye  stands  out  in 
bold  relief  in  contrast  with  the  shadow. 

Notice  the  beautiful  little  shadow  the  upper  eye- 
lid and  lashes  cast  on  the  eyes.  Destroy  by  no 
means,  it  is  a  part  of  nature's  beauty.  The  outside 
corner  of  the  eye  where  a  pink  or  red  tone  exists  is 
often  too  dark,  because  of  the  color  tone,  and  more  so 
by  being  in  shadow.  This  tone  down  by  straight  lines 
to  place  it  in  true  relative  value  with  the  surrounding 
tones.  On  the  upper  lid  very  little  retouching  should 
be  done,  absolutely  not  a  stroke  more  than  is  necessary 
to  preserve  delicacy  and  softness  with  atmosphere. 
Very  often  only  a  very  few  transparencies  exist,  these 
remove.  By  no  means  attempt  to  produce  a  grain  or 
stipple,  observe  the  perspective  here.  If  the  line  above 
the  eye  is  too  deep,  which  makes  the  eye  deeply  set, 
raise,  but  do  it  with  strokes  lengthwise  of  the  line.  In 
raising  any  deep  line  always  make  light  strokes  first 
to  obtain  an  atmospheric  softness,  then  with  heavier 
strokes,  building  to  where  wanted. 

Deep  set  eyes  should  have  more  illumination  under 
the  sky-light.     The  inner  corner  of  the  eye  often  has 


64  ARTISTIC   RETOUCHING. 

in  the  print  a  white  spot  caused  by  moisture  on  the 
duct,  which  being  too  strongly  taken  detracts  from 
its  simpHcity  and  beauty,  this  can  be  reduced  by  etch- 
ing. In  elderly  people  especially,  there  exists  also 
some  of  these  bright  places  on  the  under  lid,  from  the 
same  cause,  remove  entirely. 

In  the  aged  the  eye-brows  and  lids  are  drawn 
toward  the  nose;  the  lids  lowering  and  projecting;  the 
under  lid  also  raising.  Crow's  feet  gather  at  the 
corner  of  the  eyes  either  from  age  or  a  merry  eye, 
termed  laughing  wrinkles.  These  may  be  entirely 
removed  according  to  the  wishes  of  the  individual,  the 
minor  ones  should  be  entirely  removed  except  in  very 
old  age. 

From  childhood  to  youth  the  inner  corner  of  the 
eye  expresses  most  character  and  also  changes  the 
most ;  then  as  years  advance,  the  outside  corner  of  the 
eye  is  most  expressive  and  changes  the  most. 

Emerson  says,  that  the  eyes  speak  all  languages; 
they  wait  for  no  introduction ;  they  ask  no  leave  of  age 
or  rank;  they  respect  neither  poverty  nor  riches, 
neither  learning,  nor  power,  nor  virtue,  nor  sex ;  but 
intrude  and  come  again,  and  go  thru  and  thru  you 
in  a  moment  of  time. 

It  is  certain  the  eye  carries  the  exact  inner  self  of 
the  individual,  the  mind  is  at  the  bottom  of  it  all.  The 
eye  may  say  one  thing  and  the  tongue  another,  and  a 
reader  of  humanity  would  rely  on  the  words  of  the 
former.  What  changes  of  expression  when  an  eye 
expresses  either  love,  hatred,  mirth  fulness,  passion, 
anger,  joy,  sorrow,  pity  or  thoughtfulness.  How 
marvelous  the  different  changes  in  the  eye,  how  it 


ARTISTIC   RETOUCHING.  65 

g-] earns,  sparkles,  glows,  flashes,  melts,  lights  up  or 
darkens.  Where  does  this  all  lay?  In  the  eye  from 
the  soul  shown  by  the  action  of  the  different  muscles 
that  surround  the  eye,  and  by  the  muscles  of  the  eye- 
ball, expressing  the  higher  and  finer  spiritual  feelings, 
the  changes  of  expression  thru  the  eye-ball,  its  light, 
life,  the  most  delicate  of  delicacies  of  the  human 
nature.  How  wonderfully  they  respond  and  so  har- 
moniously to  the  inward  feelings  of  man. 

It  is  very  essential  to  the  operator  and  retoucher 
to  understand  these  expressions,  for  the  operator  to 
obtain,  for  the  retoucher  to  know  and  where  to  make 
changes  if  necessary.  Very  successful  changes  can  be 
made  if  the  operator  has  failed  in  expression ;  result  of 
operator's  work  having  been  perhaps  a  very  sad  or 
forlorn  look.  Notice  the  changes  in  the  eye-brow  in 
a  sad  or  forlorn  look  and  a  bright  one.  In  the  former 
the  eye-brow  lowers  and  seems  to  come  closer 
together;  in  a  bright  look  the  eye-brow  slightly  raises 
and  has  a  more  beautiful  curve  at  the  top.  In  a 
smile  the  labial  furrow  deepens,  the  nostrils  widen. 
In  a  sad  or  forlorn  look  the  upper  eye-lid  droops  and 
closes  more  the  eye,  while  the  bright  look  is  the  re- 
verse. A  pleasant  expression  may  be  changed  into  a 
bright,  intelligent  look,  by  softening  the  lines  at  the 
corner  of  the  eyes  and  the  lines  by  the  mouth  and  at 
the  corner  of  the  mouth.  Giving  a  curve  to  the  eye- 
brow by  etching  makes  a  wonderful  difference  in  the 
expression.  Separating  the  eye-brows  a  little  more 
also  adds  to  beauty.  In  the  illustration  at  the  head 
of  this  chapter,  in  the  unretouched  negative,  the  eyes 
are  nearly  closed  and  the  expression  sad,  to  show  what 


66  ARTISTIC   RETOUCHING. 

could  be  done,  and  successfully;  the  eyes  were  opened 
and  expression  changed  completely;  due  attention 
being  paid  to  the  change  of  the  different  features  for 
the  different  expressions.  In  attempting  to  open  a 
closed  e3'e,  first  make  a  careful  drawing  with  a  pencil 
on  the  negative,  of  an  eye  open,  drawing  the  eyelids, 
outside  of  the  iris  and  pupil.  Now  take  an  etcher  and 
etch  in  the  pupil,  outside  of  the  iris,  the  shadow  cast 
by  the  lid  and  eye-lashes,  keeping  the  delicacies  of  these 
in  their  respective  places.  Strengthen  the  whites  of  the 
eyes  where  necessary.  Study  the  lights  and  shades  and 
delicacies  of  a  good  negative  and  it  will  be  surprising 
what  even  can  be  done  at  the  first  attempt.  Keep  the 
mouth  in  harmony  of  expression  with  the  eye. 

A  staring  expression  often  occurs  from  the  use  of 
an  eye-rest  closely  used,  better  use  none.  The  farther 
the^eye  looks  in  the  distance,  not  at  a  spot  or  figure  on 
the  wall,  but  out  in  the  distance,  the  calmer  and  better 
the  expression.  Long  exposures  are  a  detriment  to 
expression.  Expression  is  best  when  caught  in  an  in- 
stant of  time.  In  a  frown  the  eye-brows  are  drawn 
more  together  at  the  center,  they  are  also  lowered,  es- 
pecially the  inner  portions.  In  removing  the  frown,  the 
eye-brows  must  be  raised  by  etching;  remove  also  the 
furrow  or  furrows  that  are  caused  by  the  frown.  A 
frown  usually  causes  a 'deeper  shadow  between  the  eye- 
brow and  eye-lid  nearer  the  nose,  this  may  be  filled  with 
more  light  and  helps  to  change  expression. 

The  first  thing  that  comes  to  notice  is  the  size  of  the 
eye.  Large  eyes  are  usually  a  type  of  beauty,  es- 
pecially in  women.  Writers  write  of  "large,  spiritual 
eyes,"  and  of  "little,  sparkling,  beady  eyes."    The  most 


ARTISTIC   RETOUCHING.  67 

beautiful  eyes  have  a  long  instead  of  a  wide  opening. 
Then  there  are  eyes  which  are  more  nearly  closed. 
There  is  also  the  prayerful  eye  or  the  uplifted  eye, 
the  down  cast  eye  or  the  eye  expressing  humility. 

Eyes  are  not  alike,  all  have  different  signification. 
Each  tells  its  story  differently,  none  are  without  mean- 
ing ;  some  are  calm,  others  are  troubled ;  some  are 
penetrating,  others  entreating;  some  are  mischievous. 

The  eye-brows,  as  were  touched  on  before,  are 
closely  connected  with  the  eyes  in  expression.  Eye- 
brows are  regular  or  irregular ;  curved  or  straight ; 
bushy,  thick  or  thin ;  smooth  or  rough,  fine  or  coarse, 
each  helping  to  express  characteristics.  Straight  eye- 
brows are  more  common  to  man,  while  the  arched  to 
woman.  Eye-brows  should  usually  be  left  untouched, 
except  for  irregular  patches  of  light  or  dark  to  be 
toned  down  either  by  pencil  or  etcher :  in  simplicity  is 
beauty. 

Much  can  be  done  in  changing  expression,  but  an 
eye  better  be  left  alone  than  poorly  handled.  The 
operator  should  get  expressions  that  need  no  great 
changes ;  retouching  should  be  an  improvement  of 
proper  operating  and  not  a  remedy.  A  skillful  re- 
toucher and  etcher  can  almost  do  anything  with  deli- 
cate and  thoughtful  handling.  He  can  successfully 
turn  the  eyes,  by  studying  the  negative  and  proof. 
When  one  eye  is  smaller  than  the  other,  the  smaller 
eye  is  usually  the  one  to  be  remedied.  Enlarge  by 
raising  the  upper  lid  and  perhaps  lowering  the  lower 
lid.  Change  the  eye-borw  if  necessary.  Too  strong  a 
light  often  dwarfs  the  eye.  For  this  reason  the  catch- 
light  in  the  shadow  eye  is  often  larger  than  the  other 
eye.    The  one  in  the  light,  the  upper  lid  is  lowered. 


68  ARTISTIC    RETOUCHING. 

In  sleepy  eyes  the  upper  lid  is  lowered,  a  brighter 
look  is  obtained  by  raising  it.  In  a  smile  the  lower  lid 
is  raised  and  the  upper  lowered.  More  of  a  serious 
expression  can  be  produced  by  raising  the  upper  lid  or 
lowering  the  lower.  Eye-brows  are  great  means  of 
expression,  and  are  easily  subject  to  distortion.  In  a 
badly  lighted  photograph,  one  eye-brow  is  lower  than 
the  other.  The  eye-brow  in  a  front  side-light,  coming 
even  from  a  good  angle,  is  too  faint  at  the  upper  and 
outer  edge.  The  skin  is  seen  thru  and  the  hairs  cast  no 
noticeable  shadows ;  this  amounts  to  distortion. 
Etcher  is  necessary  to  produce  them.  Eye-brows  that 
are  grown  together  seem  stronger  than  nature,  being 
thrown  in  shadow  or  half-tone  at  the  root  of  the  nose, 
which  makes  them  appear  stronger  still.  Reduce  some, 
because  they  are  more  noticeable  in  a  picture  if  left  un- 
touched. Study  eyes  as  to  beauty  of  form  and  ex- 
pression, thereby  learning  what  changes  to  make,  where 
and  how. 


ARTISTIC    RETOUCHING.  69 

CHAPTER  XV. 

The  nosh. 

The  nose  often  has  much  influence  on  the  operator 
as  to  the  position  of  the  head ;  it  is  one  of  the  leading 
features  in  the  human  face;  it  is  very  prominent,  im- 
possible to  conceal.  The  fineness  of  the  nose  is  indi- 
cated by  the  cultivation  and  advancement  of  the  race. 
Compare  the  Ethiopian  and  the  Mongol  with  the  Cau- 
casian, or  the  white  race.  It  will  be  noticed  the  first 
two  are  shorter  and  compressed  in  comparison  with 
the  last.  The  Caucasian  nose  averages  in  length  about 
one-third  of  the  face,  while  the  other  two,  one-fourth, 
or  less.  Artists  who  idealize  the  face,  are  sure  to 
idealize  the  nose. 

There  are  few  general  classes  of  noses ;  but  there 
are  many  varieties  between  these,  the  profile  usually 
indicates  to  which  class  a  nose  belongs.  There  is  the 
Roman,  the  Greek,  the  Jewish,  the  snub  or  the  up- 
turned. The  Roman  nose  is  the  executive  nose.  The 
ancient  arstists  gave  to  Jubiter,  Hercules  and  other 
deities  this  nose,  indicative  of  power.  Julius  Csesar, 
Lord  Wellington,  Columbus,  Queen  Elizabeth,  and 
many  others  of  note,  all  possessed  this  Roman  nose  or 
its  type. 

In  the  Greek  nose,  the  bridge  is  straight  from  the 
forehead  to  the  tip  with  but  a  very  slight  indentation 
at  the  root.  It  indicates  artistic  tastes,  a  great  lover 
of  beauty.  The  sculptors  gave  this  nose  to  Juno,  Venus 
and   Apollo.     Among  the   great   writers   and   arstists 


70  ARTISTIC   RETOUCHING. 

possessing  Greek  noses  were  Milton,  Spencer,  Raffa- 
elle,  Rubens,  Murillo  and  Titian,  the  last  four  being 
distinguished  artists. 

The  Jewish  nose  denotes  a  commercial  nose, 
shrewdness,  one  who  can  turn  everything  to  profit. 
The  pug  nose  or  the  snub  nose,  is  a  nose  the  operator 
finds  hardest  to  handle ;  of  the  greatest  possessing  this 
nose  was  Kosciusko.  The  up-turned  nose  is  the  op- 
posite of  the  Jewish  nose.  It  has  its  admirers  and 
often  is  especially  beautiful  in  children,  so  is  also  the 
pug  nose  if  not  too  strongly  marked. 

The  finest  and  most  beautiful  noses  are  in  length 
one-third  of  the  face.  There  are  many  variations  from 
this,  some  longer,  some  shorter.  Some  writers  had 
beautiful  noses,  Chaucer,  Milton,  Shakespeare,  Dry- 
den,  Pope  and  Tennyson.  Artists  and  sculptors  may 
have  idealized  the  nose,  but  they  realized  fully  how  a 
beautiful  nose  added  to  the  face  in  beauty  and  strength. 

There  are  ten  parts  to  the  nose,  the  bridge,  the  root, 
two  sides,  two  wings,  two  aisles,  lobe  and  septum. 
Noses  not  alone  vary  in  length,  but  width.  The 
placement  of  the  high-light  on  the  bridge  of  the  nose 
determines  its  width ;  if  too  wide,  etch  down  and  place 
with  pencil  nearer  to  the  center.  The  class  of  the  nose 
whether  Roman,  Greek,  Jewish,  snub  or  up-turned  or 
near  these  types,  depends  on  the  length  and  break  of 
the  high-light.  The  Greek  nose  has  a  straight,  un- 
broken light  from  the  root  of  the  nose  to  the  tip.  Many 
photographers  make  all  noses  Greek  noses,  which  is  a 
mistake. 

On  a  Roman  nose,  the  high-light  exists  quite 
curved;  if  it  were  the  wish  of  the  customer  to  have 


ARTISTIC   RETOUCHING.  71 

changed,  the  high  Hght  could  be  straightened  by  etch- 
ing away  some  of  the  curve  and  pencil  in  a  straighter 
high-light.  But  better  be  left  alone,  especially  in  a 
man's  face,  for  it  adds  strength.  In  an  up-turned  nose, 
the  light  is  broken  where  the  cartilege  of  the  nose  joins 
the  bone  of  the  nose.  The  light  could  be  united,  also 
build  in  some  in  the  shadow  side  where  the  cartilege 
joins  the  bone,  making  an  appearance  of  a  break.  The 
light  on  the  tip  of  the  nose  could  also  be  lowered  to 
lengthen  it.  Then  if  the  nose  is  quite  wide,  which  is 
sometimes  the  case  in  a  badly  up-turned  nose,  etch 
down  some  the  side  of  the  tip  or  lobe.  Do  not  over-do, 
do  just  enough  to  add  strength  and  beauty  to  the  face 
without  changing  the  nose  entirely.  It  is  sure  to  please 
the  individual. 

If  an  already  long  nose  has  a  break  in  the  high- 
light, it  is  advisable  to  let  remain  as  it  is,  it  would  only 
in  appearance  add  more  length.  If  a  nose  is  too  long, 
the  light  on  the  tip  may  be  etched  off  to  shorten  the 
length  of  the  light ;  if  the  nose  is  too  long  yet,  the  lobe 
or  tip  may  be  etched  off  a  little,  but  be  sure  to  have 
the  highest  light  ^n  the  lobe ;  it  brings  out  the  tip  a 
little  farther  than  the  rest,  which  is  true  to  nature.  If 
a  short  nose  has  a  break  in  the  light,  unite  the  light, 
to  add  length ;  the  light  on  the  end  could  be  lowered  a 
little  with  pencil.  Good  judgment  and  taste  must  be 
used  not  to  mar  this  feature.  The  nose  being  almost 
the  hardest  feature  to  model ;  it  is  all  form.  No  feature 
has  as  many  changes  of  form  as  the  nose. 

The  light  is  sometimes  too  broad  on  the  bridge,  can 
be  reduced  by  etching.  At  the  root  of  the  nose  it  is 
sometimes  too  high,  etch  down  a  little.     The  light  is 


72  ARTISTIC   RETOUCHING. 

often  too  strong,  blocked  up,  destroying  the  flesh  note, 
looking  more  as  tho  it  were  a  high-light  on  some  me- 
tallic substance.  Wherever  this  occurs,  the  whole  light 
ought  to  be  toned  down  by  etching.  Flesh  is  soft  and 
duller,  not  brilliant  and  hard.  The  reason  often  for 
its  being  too  high  and  metallic  in  appearance,  is  an  oily 
skin  or  too  brilliant  a  lighting.  The  edge  of  the  light 
is  often  sharply  outlined,  to  soften,  make  the  strokes 
lengthwise  of  the  light,  make  the  strokes  a  little 
straighter  with  the  convex  part  of  the  stroke  near  the 
light.  The  tip  appears  often  too  wide  and  thick,  etch 
ofif  some  of  the  high-light  and  bring  it  over  toward  the 
shaded  side,  in  other  words,  make  straighter  the  light. 
If  the  nose,  its  full  length,  is  too  wide,  move  its  high- 
light. The  side  of  the  lobe  may  be  removed  a  trifle  to 
narrow  it.  On  the  wing  a  little  light  exists,  if  any  work 
is  necessary,  work  from  this  light,  being  careful  not  to 
destroy  the  modeling.  Do  only  what  is  necessary.  If 
this  light  is  too  strong,  etch  down  a  little.  The  wing 
in  the  shadow  needs  great  care.  Sometimes  the  shadow 
is  too  strong  and  the  wing  is  hardly  distinguishable, 
while  the  shadow  is  being  raised,  also  raise  the  light  on 
the  wing  with  care  as  to  form. 

There  is  often  too  strong  a  light  (even  stronger 
than  the  light  on  the  cheek  bone)  where  the  side  of  the 
nose  is  a  continuation  of  the  cheek,  this,  should  be 
etched  down ;  if  a  break  of  the  gentleness  of  the  curve 
exists  here,  blend  to  give  it  the  slope  that  exists  from 
the  side  of  the  nose  into  the  cheek.  The  shadow  that 
the  projection  of  the  forehead  casts  on  the  nose  from 
the  corner  of  the  eye  towards  the  root  of  the  nose  on 
the  light  side  of  the  face,  should  be  toned  and  its  edge 


ARTISTIC   RETOUCHING.  73 

softened  sometimes,  because  of  its  depth  and  sharpness 
of  outHne. 

The  bridge  of  the  nose  nearest  the  source  of  Hght 
where  the  hght  is  reflected  the  strongest,  and  the  next 
lower  tone  on  the  nose  joining  the  shadow,  and  the 
shadow  or  half-tone  cast  by  the  nose  on  its  sides  and  on 
the  cheek,  determines  the  width  of  the  nose.  The 
shadow  on  the  nose  is  nearly  always  too  sharply  out- 
lined, giving  more  the  appearance  of  light  off  the  edge 
of  a  bone  or  a  broken  bone,  instead  of  flesh  over  a 
bone.  Soften  this,  but  not  broaden,  make  strokes  up 
and  down  lengthwise  of  the  edge,  strokes  curved  a  little 
with  the  convex  part  of  the  stroke  near  the  edge.  This 
line  should  sometimes  be  softened  from  the  eye-brow 
to  the  tip  of  the  nose.  Make  at  first  the  strokes  lightly 
and  then  heavier.  Do  not  make  the  strokes  across 
the  shadow  from  the  light,  it  is  liable  to  flatten  the 
shadow  and  destroy  the  delicate  modeling  of  the  curves 
of  the  nose.  If  the  shadow  is  strong,  make  light 
strokes  first  to  produce  soft  atmospheric  flesh  effect,  to 
destroy  the  transparency  of  that  shadow,  and  then 
make  heavier  strokes  to  build  to  the  required  density. 
If,  however,  this  shadow  has  proper  illumination,  and 
gradations  are  displayed  to  better  advantage,  clear  it  of 
its  transparencies,  if  any,  then  the  other  imperfections 
in  the  direction  in  which  they  lay  the  longest,  then  if 
any  more  work  is  necessary,  blend  in  the  direction, 
lengthwise  of  the  edge  of  the  light  on  the  nose  and 
cheek.  The  lobe  of  the  nose  where  its  tip  casts  a 
shadow  on  the  lower  rounded  part  or  beginning  of  the 
septum  is  often  a  sharp  edge,  soften  by  strokes  length- 
wise of  it.    The  modeling  of  the  light  side  of  the  nose 


74  ARTISTIC   RETOUCHING. 

should  be  handled  very  much  the  same  way,  only  here 
strokes  can  be  made  their  proper  weights  to  bring  up 
the  imperfections  to  their  surrounding  intensities. 
Very  few  strokes  are  necessary  to  finish  the  modeling 
made  in  the  direction  in  which  the  muscles  run,  for, 
after  the  imperfections  are  cleared  away,  most  of  the 
modeling  is  done. 

In  nature,  color  sometimes  exists  in  the  line  above 
the  wing,  in  the  continuation  of  the  lalial  furrow,  called 
the  aisle  of  the  nose.  This  has  the  appearance  in  the 
negative  of  being  too  deep,  soften,  letting  the  labial 
furrow  remain  deepest  at  the  side  of  the  wing,  dimin- 
ishing in  depth  and  width  as  it  runs  around  and  above 
the  wing  on  the  side  of  the  nose.  The  nostrils  never 
subdue  unless  very  dark,  if  the  negative  is  under-timed 
greatly.  At  the  lower  part  of  the  septum,  a  little  strong 
light  sometimes  exists,  etch  down  a  little. 

The  sides  of  the  nose  are  often  unwisely  handled 
as  to  texture.  Many  have  as  coarse  a  grain  here  as  on 
the  cheek.  Go  back  to  the  law  of  perspective,  consid- 
ering its  two  phases ;  that  as  things  recede  they  be- 
come less  distinct  in  sharpness  and  smaller  in  size. 
The  side  of  the  nose  is  at  a  slant  or  side-wise  to  the 
viewer,  pores  themselves  are  not  seen  their  full  size, 
are  not  as  distinct  in  themselves.  This  being  the  case, 
it  would  be  false  to  art  truth  or  laws  of  perspective 
to  have  such  a  texture  as  is  generally  seen.  The  at- 
mosphere, the  intagible  something,  is  destroyed.  Do 
only  as  much  work  as  is  positively  necessary  to  clear  it 
of  its  imperfections  and  model ;  this  will  give  the  nat- 
ural texture  of  the  skin  or  flesh. 

The  shadow  cast  by  the  nose  on  the  lip  following 


ARTISTIC    RETOUCHING.  75 

the  labial  furrow,  do  not  destroy  this  line  or  its  char- 
acter. Notice  in  nature  the  shadow  that  any  object 
casts,  the  deepest  part  of  the  shadow  is  nearest  the  ob- 
ject. The  shadow  cast  by  the  nose  should  be  strongest 
near  the  nose ;  let  it  gradually  be  softened  at  its  out- 
side edge.  In  softening  this  shadow,  follow  the 
outside  edge  of  the  light  near  the  shadow  in  the  direc- 
tion of  the  light  and  let  the  strokes  gradually  become 
fewer  and  less  in  weight  as  the  modeling  comes  nearer 
to  the  nose.  The  groove  in  the  center  of  the  upper  lip 
is  often  sharply  edged  and  too  deep,  soften  the  edge 
by  strokes  lengthwise  of  it  and  soften  the  groove,  being 
careful  to  preserve  the  form,  keeping  its  accent,  which 
is  mostly  at  the  lower  part. 

In  modeling  the  rest  of  the  upper  lip,  ail  that  is 
often  necessary  to  do  is  to  clear  it  up  of  its  imperfec- 
tions. On  the  lip  near  the  labial  furrow  is  sometimes 
too  bright  a  light,  this  could  be  etched  down  without 
marring  the  modeling  and  give  more  beauty  and  sim- 
plicity. 


76  ARTISTIC    RETOUCHING. 

CHAPTER  XVI. 

THE  MOUTH, 

T^  HE  mouth  reveals  very  much  the  nature  of  the 
individual,  most  especially  the  line  at  the  corner 
and  the  junction  of  the  lips;  this  being  the  principle 
part  of  the  expression.  The  mouth,  like  the  eye, 
speaks  of  one's  inward  self.  The  expression  of  the  soul 
shines  in  the  eye  and  expresses  itself  also  in  the  lips. 
Lips  in  motion  do  not  always  express  the  most  elo- 
quence. They  do  not  need  the  tongue  to  tell  the  tale; 
they  may  either  express  love  or  hatred ;  joy  or  sorrow ; 
pride,  scorn,  contempt,  firmness,  peace,  pity  or  dignity. 
The  different  kinds  of  lips  are  curved  and  straight ; 
full  lips  and  thin  lips ;  prim  lips,  pouting  lips ;  lips  that 
protrude  and  lips  that  are  set  back.  There  are  lips  that 
express  tender  feeling  and  sympathy  and  lips  that 
send  a  "chill  to  the  heart." 

Notice  the  sweet,  pure  expression  of  a  little  child, 
how  this  same  expression  can  be  changed  to  one  of 
pride  or  hatred,  contempt  or  scorn  as  years  advance. 
It  has  well  been  said  by  one,  "We  make  our  own 
mouths."  How  true  it  is.  How  many  beautifully 
outlined  lips  are  changed  to  coarse,  irregular  lips,  each 
expressing  very  much  the  nature  of  the  individual. 

It  is  an  aid  to  expression  to  know  what  changes 
take  place  in  the  different  expressions  of  different 
kinds  of  lips.  Look  at  a  person  with  straight  lips  and 
see  if  it  does  not  indicate  strength  and  firmness ;  if  lips 
that  are  narrow  and  close,  do  not  lack  affection ;  how 


ARTISTIC   RETOUCHING.  77 

mouths  slightly  open  indicate  a  frank,  out-spoken  na- 
ture. Queen  Victoria  was  such  an  example.  Notice 
what  changes  about  the  mouth  and  chin  take  place 
when  scorn  or  contempt  are  expressed.  Cheerfulness 
is  expressed  by  the  upward  curving  of  the  corners  of 
the  mouth ;  while  a  sad,  forlorn  look  by  the  downward 
curving  of  the  corners  at  the  junction  of  the  lips. 

Changes  take  place  with  advancing  years  as  to  ex- 
pression, form,  outline,  result  being  very  much  as  one's 
life  is  spent.  How  marked  the  change  from  infancy 
to  age,  the  beauty  of  form  and  fullness  of  expression  of 
a  child's  compared  with  the  lack  of  all  these  varied  ex- 
pressions in  old  age.  How  the  sweet,  innumerable, 
charming  expressions  of  childhood  change  into  the 
no  less  admired,  firmly  set,  dignified,  peaceful  expres- 
sions of  old  age.  All  these  must  be  taken  into  strong 
consideration  when  the  retoucher  takes  hold  of  the 
negative. 

Severity  of  expression  is  found  in  the  downward 
lines  from  the  mouth,  usually  found  in  old  age :  should 
not  be  left  in  younger  people,  especially  in  ladies  and 
children.  The  mouth  is  drawn  towards  the  left  in  a 
smile  (if  one  is  right-handed,  and  vice  versa),  shorten. 
The  operator  can  do  much  to  pose  the  head  in  such  a 
way  as  to  place  even  a  homely  mouth  to  an  advantage. 
The  best  position  for  the  nose  may  often  not  be  the  best 
for  the  mouth,  the  operator  must  have  a  keen  sense 
as  to  what  best  do  and  what  to  leave  for  the  retoucher. 
The  lines  at  the  corner  of  the  mouth,  if  long  drawn 
and  deep,  giving  some  of  the  above  mentioned  ex- 
pressions, should  be  shortened  and  subdued,  but  leav- 
ing its  deepest  part  or  accent  at  the  corner.    Great  care 


78  ARTISTIC    RETOUCHING. 

must  be  used,  for  a  very  few  touches  may  destroy  the 
true  character  or  expression. 

The  lower  part  of  the  upper  hp,  all  in  shadow, 
is  very  often  flat  and  its  upper  edge  sharply  outlined; 
this  not  being  true  to  nature,  soften  by  straight  lines, 
following  the  edge  in  the  shadow,  just  enough  to  give 
a  round  effect  as  in  nature;  the  red  of  the  lip  is  not 
sharply  outlined.  Cause  of  this  being  sharp  is  a  warmth 
of  color  explained  before,  and  being  more  accented  by 
being  in  shadow. 

The  lower  lip  usually  has  a  bright  light,  the  place- 
ment depending  on  the  fullness  of  the  cruve  of  the  lip. 
Sometimes,  if  too  strong,  should  be  etched  down  a 
little.  Creases  in  the  lips,  remove  with  straight  lines 
up  and  down,  following  the  creases.  By  moistening 
the  lips  before  exposure,  prevents  this  and  other  little 
roughnesses.  Keep  the  true  character  or  natural  tex- 
ture of  the  lips,  little  work  as  possible  is  by  far  the 
best.  The  shadow  in  the  mouth,  the  line  of  separa- 
tion of  the  lips  should  not  be  too  black ;  very  seldom  is 
unless  greatly  under-exposed.  Preserve  the  three  tones 
in  the  lips,  the  light  on  the  lower  lip,  the  shadow  of  the 
upper  lip  and  the  shadow  the  upper  lip  casts  on  the 
lower,  the  part,  which  is  the  deepest. 

If  lips  are  too  thick  and  too  noticeable,  they  may 
be  narrowed  by  bringing  down  the  light  on  the  upper 
lip  and  shortening  the  lower,  narrowing  it,  being 
careful  to  keep  harmonious  tones  and  not  outline  the 
edge  too  sharply. 

Great  changes  of  expression  may  he  made  in  the 
mouth  to  correspond  to  that  of  the  eye  by  a  competent 
retoucher.     The  change  must  be  made  in  its  proper 


ARTISTIC    RETOUCHING.  79 

place  and  with  extreme  delicacy  of  touch  and  handling 
of  line  or  contour  and  it  nearly  all  lies  at  the  junction 
of  the  lips  and  the  line  at  the  corner.  The  little  line,  or 
indication  of  line  that  tends  upward,  should  be  care- 
fully handled,  if  touched  at  all. 

Responsibility,  struggle,  hard  work  leaves  its  foot- 
prints on  the  face,  drawing  down  the  corners  of  the 
mouth  sometimes,  according  to  the  nature  of  the  indi- 
vidual. In  cheerfulness,  the  smiles  leave  their  marks 
in  lines  in  the  cheeks  near  the  corners  of  the  mouth. 
In  making  any  changes  mar  not  what  is  already  beau- 
tiful ;  if  not  competent  to  make  a  proper  change,  make 
none  at  all. 


80  ARTISTIC    RETOUCHING. 

CHAPTER  XVII. 

THE   CHIN. 

T^  HERE  are  many  variations  of  forms  of  chins,  no 
one  can  help  but  know  the  importance  of  its 
form  as  to  the  making  of  a  beautiful  picture.  There  are 
the  broad  round  chins,  or  the  broad  square  chins ; 
the  narrow  square  or  the  narrow  round ;  the  promi- 
nent or  the  receding;  the  pointed,  the  indented,  the 
long  or  the  short.  There  are  but  few  among  the  many 
that  take  good  profiles,  its  form  next  to  the  nose  has 
much  to  do  with  the  making  of  the  picture.  Surely 
with  this  variety,  each  must  have  to  a  great  degree,  its 
bearing  in  the  make-up  of  the  individual. 

The  chin  is  usually  considered  as  being  indicative 
of  voluntary  action  or  will-power.  Animals  have, 
properly  speaking,  no  chins,  possessing  nothing  more 
than  as  is  called  the  lower  jaw.  In  the  animal  the  mouth 
is  widened  and  the  jaws  extended,  in  the  human,  the 
mouth  is  concentrated  and  the  chin  rounded  and  full. 
Posing  has  much  influence  over  the  quality  of  the  pic- 
ture as  to  its  handling.  A  weak  chin  can  be  given 
more  prominence,  much  helped  by  retouching  also.  A 
very  heavy  chin,  an  over-elongated,  can  also  be  placed 
to  a  better  advantage. 

As  much  importance  is  attached  to  the  retoucher  as 
operator  as  to  the  proper  handling  of  the  chin.  Most 
retouchers  round  out  all  chins  alike,  leaving  none  of  the 
distinctive  individual  peculiariities  of  the  different  sub- 
jects.   There  are  no  two  chins  alike  and  as  such  they 


ARTISTIC   RETOUCHING.  81 

should  be  treated.  Keep  the  chin  in  subordination  to 
the  rest  of  the  face,  building  or  subduing,  adding  or 
taking  from,  to  assist  beauty  of  contour  of  the  face  or 
its  strength  of  feature,  to  make  a  good  balance  as  far  as 
practicable  and  yet  not  destroy  the  character  of  the 
individual.  The  chin  should  never  be  the  most  prom- 
inent feature,  often  in  flat  negatives,  it  contains  the 
highest  light.  This  light  should  be  held  subservient  to 
the  other  lights  of  the  face.  Let  the  highest  lights 
of  the  face  surround  or  be  near  the  eyes ;  the  light  of 
the  inward  self  of  the  individual ;  then  hold  in  subordi- 
nation or  in  control  the  light  of  the  lower  part  of  the 
face  letting  the  intelligence,  higher  and  central  force, 
be  the  controlling  influence  over  the  will  power,  the 
lower  part. 

The  highest  light  on  the  chin  is  connected  with 
its  deepest  shadow  as  it  curves  to  the  neck,  at  which 
place  it  is  often  illuminated  by  reflected  light  from 
the  body  or  light  drapery.  This  reflected  light 
should  be  untouched  unless  too  strong,  then  etch  down 
to  reduce.  If  the  highest  light  on  the  chin  is  too 
strong,  particularly  in  relation  with  the  other  lights  on 
the  face,  it  is  necessary  to  tone  down  to  its  proper 
value  by  the  use  of  an  etcher.  If  from  this  direct 
light  there  exists  a  sharply  outlined  shadow,  round  by 
use  of  half-tones.  No  chin  ends  by  a  sharpness,  as 
is  often  impressed  in  the  plate.  To  soften  or  blend, 
use  the  strokes  only  slightly  curved,  following  the 
contour  of  the  chin,  being  careful  not  to  destroy  the 
appearance  of  the  shadow  by  working  up  to  the  re- 
flection, which  would  cause  a  serious  flatness,  destroy- 
ing perspective.  Study  first  the  values  and  where  the 
deepest  sliadow  should  be,  holding  the  beauty  of  the 


82  ARTISTIC   RETOUCHING. 

reflection  in  its  proper  place  as  a  reflection  and  not  as 
a  direct  source  of  light. 

There  often  exists  just  below  the  under  lip  little 
forms  of  lights,  due  to  little  prominences  in  flesh  or 
muscles,  which  destroys  the  simplicity  and  beauty  of 
that  shadow.  These  can  be  removed  not  by  working 
up  to  them  so  much  as  by  etching  down  a  little.  This 
all  can  be  done  and  not  change  materially  the  charac- 
ter of  the  individual.  The  shadow  cast  by  the  under- 
lip  on  the  chin  is  often  a  little  too  deep,  soften,  but 
keep  deepest  accent  and  true  contour,  using  care  not  to 
soften  and  soften  'till  all  character  is  destroyed,  making 
it  appear  pulpy  or  boneless  or  formless.  Soften  this 
shadow  lengthwise,  according  to  its  form. 

Dimples  in  the  chin  are  nearly  always  too  deep  and 
large,  taken  deeper  and  larger  than  is  found  in  na- 
ture, from  the  same  cause  as  wrinkles  being  enlarged. 
In  subduing  the  dimple,  take  notice  of  its  form  and 
subdue  accordingly,  keeping  its  accent.  The  shadow 
side  of  the  chin  usually  needs  some  blending  to  give 
it  its  natural  roundness. 

Weak  chins  can  be  made  stronger  by  adding  more 
light,  giving  more  prominence ;  also  be  made  wider, 
using  judgment  not  to  go  beyond  what  is  perfectly 
legitimate. 


ARTISTIC   RETOUCHING.  83 

CHAPTER  XVIII. 
The  chkek  in  shadow. 

'X'  HIS  cheek,  whether  full  view,  three-quarter  view 
or  less,  if  not  thrown  all  in  the  shadow,  has, 
according  to  the  lighting,  either  a  light,  half-tone  or  a 
suggestion  of  a  light.  Whatever  its  intensity,  there  is 
on  the  cheek-bone  a  highest  point,  or  an  illumination, 
according  to  the  lighting.  In  retouching  start  from  this 
highest  point,  clear  up  in  the  usual  way  as  other  parts 
of  the  face,  then  blend  into  the  surrounding  part,  being 
careful  not  to  destroy  the  perspective  of  this  shadow. 

The  light  is  often  too  sharply  outlined  against  the 
shadow,  often  caused  by  the  color  in  the  cheek  or  im- 
proper modeling  under  the  sky-light.  In  blending  this 
light,  clear  it  first  of  its  imperfections,  then  if  there  is 
any  extra  modeling  to  be  done,  do  it  by  making  strokes 
in  the  direction  in  which  the  muscles  run.  The 
shadow  cast  by  the  nose  often  is  sharply  outlined  as 
it  falls  on  the  cheek,  soften  somewhat,  according  to  the 
general  tone-values  in  the  face,  being  careful  to  pre- 
serve the  modeling  of  this  shadow. 

If  the  shadow  at  the  side  of  the  face,  or  any  other 
shadow,  for  that  matter,  where  building  up  is  neces- 
sary, make  the  strokes  lightly  first,  to  give  atmospheric 
effect  to  destroy  the  transparency  of  the  place;  then 
gradually  build  up  to  its  proper  value,  using,  however, 
as  few  strokes  as  possible  to  do  the  work,  otherwise 
the  retoucfiing  will  look  as  tho  it  was  on  top  of  the 
skin,  loaded  and  perhaps  solid,  instead  of  being  part 


84  ARTISTIC   RETOUCHING. 

of  the  skin.  Always  take  out  the  imperfections  first, 
giving  the  strokes  proper  length,  weight,  direction  and 
placement.  After  all  the  imperfections  are  cleared  up, 
then  with  longer  strokes  do  the  rest  of  the  work  in  the 
direction  of  the  muscles.  As  the  work  nears  the  side 
of  the  face,  keep  the  strokes  fewer  and  less  in  weight 
to  preserve  perspective  and  atmosphere,  depth. 

The  shadows  in  a  photograph  often  print  black, 
losing  all  their  delicacy  of  flesh-notes,  losing  the  lubin- 
ous  quality  produced  either  from  direct  illumination  or 
reflected  lights.  The  extremely  delicate  transparency 
of  the  skin  is  buried  in  shadow,  blocking  up  the  little 
gradations  of  flesh  tints.  This  holds  good  with  ref- 
erence to  any  shadow  in  the  negative  or  even  the  lines 
of  the  face,  restore  flesh-notes. 

A  shadow  has  form.  The  shadow,  however,  does 
not  contain  as  much  modeling  as  the  light  side  of  the 
face.  The  labial  furrow  on  the  light  side  of  the  face 
is  deeper  than  in  the  shadow  side.  The  one  in  shadow 
runs  in  the  same  direction  as  the  rays  of  light  fall  on 
the  subject,  consequently  illuminating  it,  while  the  one 
on  the  light  side,  the  light  runs  across  this  furrow ; 
the  light  striking  the  raised  flesh,  it  casting  its  shadow. 
This  holds  good  with  reference  to  other  lines,  however, 
not  so  marked.  In  some  negatives,  there  exists  no 
labial  furrow  in  the  shadow  cheek  at  all,  while  the  light 
side  possesses  one  to  quite  a  degree. 

Very  little  work  is  required  on  the  temples,  depend- 
ing much  on  the  age  or  person ;  as  modeling  is  done 
from  the  forehead  down  into  the  temples,  or  from  the 
cheek  into  the  temple ;  preserve  this  indentation  or  it 
mars  the  likeness  by  excessive  rounding.  Preserving 
this  gives  strength  to  the  contour  of  the  face. 


ARTISTIC   RETOUCHING.  85 

If  reflected  lights  are  thrown  too  strongly  into  the 
shadow,  near  the  temple,  at  the  edge  of  the  hair  or 
near  the  ear,  because  of  poor  modeling  with  the  re- 
flector, these  should  be  etched  down,  because  per- 
spective and  depth  will  necessarily  be  destroyed  by 
such.  False  lights  are  injurious  to  good  modeling; 
it  destroys  simplicity. 

As  retouching  nears  the  hair  that  surrounds  the 
face,  strokes  should  become  fewer  and  less  in  weight, 
merely  clearing  up  the  imperfections  to  preserve  the 
softness.  Nature  has  provided  the  outline  of  the  face 
with  hair,  producing  beauty,  softness  of  contour,  also 
creating  variety  by  toning  down  what  would  otherwise 
have  been  monotony,  thereby  creating  interest. 

This  outline  should  be  kept  soft,  not  as  is  often 
seen,  sharply  outlined.  If  even  it  occurs  in  the  nega- 
tive, by  influence  of  color  or  a  mass  of  hair  falling  in 
outline  at  any  place,  giving  a  sharp  edge,  soften  to 
bring  back  to  nature ;  if  very  deep  and  straight,  break 
by  lights  and  produce  a  blended  effect  in  the  other 
places. 


86  ARTISTIC   RETOUCHING. 

CHAPTER  XIX. 

THE   EAR. 

'T'HERE  are  many  shapes  and  sizes  of  ears.  Ears 
that  are  flattened  and  he  close  to  the  head  are  far 
more  beautiful  than  those  that  project.  Large  ears 
usually  go  with  large  features,  large  hands  and  feet ; 
while  small  ears  with  small  features,  small  hands  and 
feet.  There  are  many  varieties  of  forms  of  ears.  It  is 
sometimes  necessary  to  round  out  or  etch  off  some  ab- 
ruptness or  broken  curve  to  beautify  and  still  not  de- 
stroy the  character. 

Some  ears  have  numerous  elevations  and  depres- 
sions, which  of  necessity  gives  as  many  lights  and 
shadows ;  others,  again,  present  only  one  general  con- 
cavity, making  a  greater  simplicity.  Oftentimes  the 
lights  are  too  high,  caused  by  improper  illumination, 
making  the  ear  stand  out  even  in  front  of  the  face ; 
losing  the  going  back  in  perspective ;  if  this  occurs,  etch 
down  the  strongest  lights  some,  to  make  it  set  back. 
Then  again,  the  skin  is  drawn  tightly  over  the  carti- 
lege,  making  the  light  reflect  stronger  than  it  does 
from  a  softer  texture.  The  ear  is  of  small  importance 
to  the  retoucher,  its  successful  handling  falls  more  to 
the  operator  than  to  the  retoucher. 

No  other  retouching  is  necessary  unless  there  exists 
freckles  or  the  like,  which  should  be  removed.  If  at 
the  inner  circle  there  exists  a  very  deep  shadow,  so 
deep  that  its  deepness  detracts,  or  is  out  of  harmony, 
soften  a  little. 

Now  that  the  face  has  been  taken  up  in  parts  as 


ARTISTIC   RETOUCHING.  87 

to  modeling,  etc.,  sit  back  and  look  at  it  as  a  whole  in 
relation  of  the  parts  to  each  other,  see  if  the  parts  are 
bound  together  in  tone-values  from  its  own  highest 
point  with  all  the  little  prevailing  tints  down  to  its 
deepest  shadow.  Study  the  lines,  if  they  bear  proper 
relation  one  with  the  other;  if  perfect  harmony  of 
character  is  kept,  as  well  as  gradations. 

'  A  great  mistake  to  make  a  middle-aged  person, 
one  part  of  the  face  youthful  looking  while  another 
more  aged,  keep  the  harmony,  producing  a  oneness  of 
character,  instead  of  a  dividedness  of  character  or  age. 
The  subduing  of  the  lines  is  carried  according  to  the 
printing  color  of  the  negative.  A  negative  possessing 
much  color  and  intensity,  the  lines  should  be  toned 
farther  than  one  of  a  grey  or  black  negative. 


88  ARTISTIC   RETOUCHING. 


CHAPTER   XX. 

NECK,    BUST,    ARMS   AND    HANDS. 

T  N  RETOUCHING  the  neck,  bust,  arms  and  hands, 
only  as  little  work  should  be  done  as  possible, 
simply  clear  up  the  stronger  imperfections  in  the 
varied  directions  in  which  these  imperfections  lay.  The 
more  work  there  is  done,  the  harder  the  texture  of  the 
skin.  Apart  from  the  imperfections  there  is  usually 
blending  to  be  done  from  the  lights  into  the  shadows, 
handle  these  in  the  same  manner  as  the  shadows  or 
building  up  of  half-tones.  The  strokes  give  a  better 
result  if  made  straighter,  gives  more  of  a  broad,  open 
style  if  sparingly  used.  The  farther  away  from  the 
face,  the  less  of  decidedness  of  texture,  let  nothing 
detract  from  the  face,  the  central  attraction.  The 
principle  of  art  used  by  many,  the  farther  away  from 
the  face  the  less  distinct  in  detail  of  from  is  observed. 

In  retouching  the  neck,  if,  after  the  blemishes  are 
removed  and  extra  blending  is  to  be  done,  run  the 
strokes  across  the  neck  parallel  with  the  lower  jaw.  In 
ladies'  portraits,  all  muscles,  especially  such  as  the 
large  one  coming  from  back  of  the  ear  to  the  collar 
bone  (more  marked  in  some  poses  than  others),  should 
be  removed,  except  the  insertion  at  the  seemingly  junc- 
tion of  these  two  muscles.  This  indentation  indicates 
the  length  of  the  neck  and  if  left  or  moderately  so, 
looks  very  beautiful,  if  taken  out  entirely,  gives  a 
pulpy,  round,  shapeless  neck,  anything  but  natural  and 
artistic. 

Creases  running  round  the  neck  are  often  too  deep 


ARTISTIC   RETOUCHING.  89 

and  long.  The  retoucher  must  use  good  judgment  as 
to  how  much  to  reduce  and  shorten,  always,  however, 
leave  the  accent  of  the  line .  nearer  the  back  of  the 
neck,  depending  on  the  position  of  the  head  and  body, 
sometimes  better  remove  entirely. 

The  collar  bone  is  often  too  prominent,  subdue  the 
adjoining  shadows  and  if  still  too  prominent,  etch 
down  the  strong  lights,  the  taste  of  the  retoucher  as 
to  how  much  should  be  done  is  necessary  in  all  good 
work.  In  softening  the  shadow  on  the  light  side  of  the 
face  that  separates  the  lower  jaw  from  the  neck,  soften 
sufficiently  to  take  away  the  blackness  to  produce  at- 
mospheric skin  effect.  In  working  up  shadows  of  this 
kind  avoid  the  extremes  in  length  of  stroke,  the  too 
long  or  too  short.  Strokes  of  medium  good  length 
give  more  atmosphere,  cut  up  the  work  better.  In 
order  to  destroy  the  heaviness  or  deadness  of  the  shad- 
ow, strokes  of  this  kind  are  necessary  to  restore  life, 
atmosphereic  flesh  tints.  In  modeling  the  above  men- 
tioned line,  subdue  more  as  it  nears  the  ear  and  keep  its 
deepest  part  under  the  chin. 

The  larynx,  especially  in  men,  throws  the  throat 
too  far  forward,  and  casts  a  too  deep  a  shadow.  Sub- 
due this  shadow  and  if  too  strongly  lighted,  etch  down 
the  light  a  little.  The  general  tone  of  the  neck,  bust 
and  shoulders  should  be  of  a  lower  tone  than  the  high- 
est light  of  the  face.  In  retouching  the  bust  and 
shoulders,  after  the  imperfections  are  removed,  model 
in  the  direction  in  which  the  form  is  indicated,  follow 
the  curves. 

The  arms  and  hands  fall  more  to  the  province  of 
the  operator  than  to  the  retoucher  as  to  their  com- 


90  ARTISTIC   RETOUCHING. 

pleteness,  dependent  on  the  posing  and  lighting.  After 
the  imperfections  are  removed,  most  of  the  work  to 
be  done  is  the  blending  of  the  lights  into  the  shades. 
Do  not  remove  the  dimple  at  the  elbow.  There  is 
always  some  work  on  the  hands,  knuckles  cast  harsh 
shadows ;  when  parts  of  the  hands  are  in  shadow,  light 
often  ends  abruptly;  these  must  be  softened,  not  too 
much;  overdoing  makes  them  look  weak,  insipid  and 
flabby,  destroying  natural  effects  at  once.  Veins  may 
be  removed,  except  in  the  aged. 


ARTISTIC    RETOUCHING.  91 

CHAPTER  XXI. 

SHADOW  LIGHTING. 

T  N  SHADOW  lightings,  Rembrandt  lighting  is  the 
most  beautiful  lighting.  It  is  a  lighting  if  not 
properly  handled,  having  a  distorted  effect,  very  no- 
ticeable. The  nose  often  being  the  most  distorted, 
more  so,  perhaps,  than  any  other  feature,  because  of 
having  the  most  variations  of  form. 

In  retouching  three-quarter  Rembrandt  or  profile 
start  from  the  highest  lights  and  work  down  into  the 
tones  following,  ending  in  the  deepest  shadows.  Often 
more  modeling  or  building  up  of  half-tones  is  neces- 
sary, first,  because  of  more  contrastly  lightings;  sec- 
ond, because  of  the  color  of  the  skin  and,  third,  because 
of  improper  lighting  or  modeling  under  the  sky-light. 
Model  in  the  usual  way,  avoid  over-rounding.  In 
profile  Rambrandt,  the  edge  of  the  light  on  the  fore- 
head, nose  and  cheek  is  often  quite  abrupt,  soften 
enough  to  give  a  flesh  effect.  Start  all  retouching  on 
the  forehead  in  the  highest  light,  then  the  cheek  or  nose 
and  so  on,  leaving  the  neck  the  last. 

Eyes  in  the  shadows  have  no  catch-lights,  keep  this 
simplicity. 

In  retouching  shadow  lightings  or  profiles  all  in 
shadow,  keep  gradations  and  perspective.  The  mod- 
eling, if  done  nicely  under  the  skylight,  at  its  best  con- 
sists of  very  delicate  tones.  Too  often  the  operator 
flattens  out  the  gradations  by  injudicious  use  of  re- 


92  ARTISTIC   RliTOUCHING. 

flectors,  destroying  all  perspective,  making  all  the 
features  on  a  level  plane. 

In  retouching  shadow-lightings,  avoid  "blocking- 
up"  or  loading,  keep  the  luminous  quality;  if  lacking 
in  this,  retouch  as  indicated  before  in  the  handling  of 
shadows  to  give  atmosphere.  In  retouching  profiles, 
except  profile  Rembrandt,  start  on  the  forehead,  at  its 
highest  curve,  then  the  cheek  in  front  of  and  above 
the  ear  at  its  highest  point,  working  from  these  into 
the  half-tones  or  shadows  that  go  away  in  perspective. 
Line  light  start  the  same  way,  but  also  put  stress  on 
the  illumination,  to  centralize  light- force.  The  per- 
spective is  more  easily  kept  if  retouching  is  started 
from  the  highest  point,  following  the  tones  and  features 
that  go  back. 

The  student,  after  having  practiced  retouching  on 
medium  sized  heads,  may,  with  advantage,  attempt 
large  heads  or  small  ones  occasionally.  Large  heads 
should  be  retouched  with  more  freedom,  longer  strokes 
and  more  loosely  in  effect.  Sit  back  farther  to  ac- 
complish this,  be  very  careful  not  to  dwell  too  long  on 
minute  imperfections.  Retouching  on  the  film  side  of 
the  plate,  a  polished  effect  is  most  often  obtained,  very 
undesirable.  The  picture  being  large,  is  not  viewed 
at  so  close  a  range  and  will  admit  of  work  made 
heavier  and  coarser  if  done  regularly.  The  retoucher 
has  here  more  than  elsewhere  the  right  to  take  more 
of  the  sketchy,  artistic  effects,  thereby  producing 
grander  results.  A  softer  pencil  and  with  a  dull  point 
gives  a  more  desirable  end. 

Some  flow  the  glass  side  of  the  negative  with 
ground  glass  substitute  or  varnish  and  retouch  on  this, 


ARTISTIC   RETOUCHING.  93 

by  the  use  of  pencils  or  stump  and  crayon  sauce.  The 
best  crayon  pencils  should  be  used.  Retouching,  re- 
sulting from  crayon  pencils,  is  usually  coarser,  blending 
with  the  stump  is  often  necessary.  To  retouch  with 
crayon  pencils,  the  negative  need  not  have  so  much 
tooth. 

A  large  head,  beautifully  and  artistically  handled, 
may  become  a  work  of  art. 


94  ARTISTIC   RETOUCHING. 

CHAPTER  XXII. 

The  hair. 

TT  IS  often  necessary  to  retouch  the  hair,  especially 
when  a  negative  is  under-timed,  out  of  focus,  or  a 
move  existed  during  exposure. 

In  an  under-timed  negative,  particularly  in  deep, 
richly  colored  hair,  such  as  red,  auburn,  dark  brown 
or  black,  detail  is  often  sadly  lacking,  even  the  lights 
that  do  exist  may  be  weak  but  the  face  rightly  timed. 
To  strengthen  the  light  on  the  hair,  take  a  dull,  soft 
pencil,  working  with  the  flat  side  in  the  direction  in 
which  the  hair  runs;  in  curly  or  wavy  hair  the  direc- 
tion in  which  the  curl  runs.  In  doing  this,  avoid  using 
the  point  of  the  pencil,  as  it  gives  it  a  hard,  stringy 
effect  instead  of  a  soft  mass  of  light.  Work  in  as 
masses  of  light  and  shade,  not  as  individual  hairs. 

In  putting  detail  in  the  shadows  or  half-tones,  work 
lightly  first  with  the  broad  side  of  the  pencil ;  then  heavy 
as  necessary  to  bring  up  to  the  required  tone,  always 
working  in  broad  masses. 

In  out-of-focus  negatives,  do  the  work  firmly  as 
possible  to  obtain  the  result,  to  destroy  the  blurr ;  de- 
cision is  often  of  the  utmost  importance  here. 

In  working  over  moves,  separate  the  doubleness 
by  decisive  lines  as  separate  hairs.  The  length  of  the 
strokes  should  be  the  length  of  the  lights  or  tones,  if 
possible ;  at  least  avoid  the  appearance  of  having  made 
them  with  shorter  strokes,  making  them  curved  or 
straight,  according  to  the  run  of  the  hair. 

In  all  this,  keep  the  true  tone-value  of  different 


ARTISTIC   RETOUCHING.  95 

kinds  of  hair  as  found  in  nature.  Gray  hair,  of  course, 
will  have  half-tones  and  shadows  lighter  than  any 
other,  and  the  lights  are  longer.  Red  hair,  rich  auburn 
hair  will  print  black  or  darker  even  than  blue  black 
hair.  This  can  be  worked  up  in  the  usual  way  or  by 
applying  to  the  negative  a  little  color  with  a  brush,  the 
high-lights  could  be  made  longer  if  so  desired.  Pow- 
dering the  hair  of  the  sitter  brings  detail  and  very  sat- 
isfactory, if  carefully  done. 

If  lights  are  too  strong  and  chalky,  by  the  use  of 
a  large  etcher  or  a  knife,  they  can  be  toned  down  to 
the  required  intensity,  keeping  it  as  masses  of  light,  not 
as  individual  hairs.  By  the  use  of  a  stump  and  plum- 
bago or  crayon  sauce,  much  also  can  be  done  in  work- 
ing up  the  hair.  This  method  will  be  explained  in  an- 
other chapter. 


96  ARTISTIC   RETOUCHING. 

CHAPTER  XXIII. 

DRAPERY. 

TN  HANDLING  the  varied  kinds  of  drapery,  study 
their  characteristic  effects  of  lights  and  shades. 
Silk  or  satin,  especially  the  latter  have  harder,  harsher 
lights;  soft  materials  softer,  broader,  rounder  lights. 
In  the  former  kind  of  goods,  make  strokes  straight  and 
decisive,  in  the  latter,  delicate  touches  give  softer  ef- 
fects. In  velvet  the  high  lights  are  narrow  and  high. 
The  lights  of  satin  are  higher  and  bolder  than  silk. 

A  white  India  linen,  if  not  sharply  focused  and  if 
over-timed,  can  be  so  retouched  to  give  the  appearance 
of  silk  or  satin  :  the  effect  mostly  due  to  the  handling  of 
the  lights.  In  drapery,  half-tones  predominate ;  the 
beauty  of  its  lighting  being  in  its  predominance  of  half- 
tones. 

In  retouching  finer  fabrics,  such  as  chifYons  and 
laces,  beads  or  jets,  study  the  forms  of  the  lights,  giv- 
ing them  their  accents  and  touches  according  to  the 
material,  always  using  the  broad-side  of  the  pencil,  as 
the  point  gives  a  divided  scratchy  effect ;  worse  than 
if  not  touched  at  all,  avoid  niggling.  Work  in  a 
broad,  effective  way  with  fewer  strokes,  using  the  flat 
side  of  a  dull  pencil  in  all  the  work. 


ARTISTIC   RETOUCHING.  97 


CHAPTER  XXIV. 

ETCHING. 

'T'O  BECOME  an  artistic  retoucher,  a  true  re- 
toucher, one  must  become  a  competent  etcher, 
to  bring  out  the  vahie  of  the  picture.  Often  as  much 
rests  on  the  etching  as  the  retouching.  Prints  from 
many  negatives  would  be  truer  to  nature  if  the  etcher 
was  appHed  properly.  Too  often  incompetent  re- 
touchers build  up  to  opaque  spots,  destroying  tones 
and  forms. 

By  the  use  of  an  etcher,  expression  can  be  changed 
in  a  moment's  time,  where,  perhaps,  another  sitting 
would  have  been  necessary ;  length  or  breadth  of  nose, 
undue  lights  that  destroy  perspective,  or  the  many 
things  that  have  been  spoken  of  here  and  there  thru 
the  book.  Even  a  double-chin,  so  objectionable  to  the 
subject,  may  be  removed  entirely,  if  so  desired,  with 
perfect  success. 

Large  pieces  of  drapery  can  be  removed,  parts  of 
back-grounds  if  necessary,  in  fact,  any  desirable  change 
can  be  made.  Etching  requires  a  great  deal  of  pa- 
tience and  painstaking  to  accomplish  it.  In  the  first 
place,  a  steady  hand  is  necessary;  then  a  knowledge 
of  what  is  wanted  in  making  any  change  in  the  nega- 
tive; then  work  slowly  and  lightly,  and  above  all  and 
with  all,  sharp  etching  tools.  Better  to  have  two  or 
three  in  constant  readiness.  A  good,  clean  eraser  with 
a  grit  is  found  to  be  a  good  reducer. 

A  small  pen-knife  of  good  steel  does  very  nice 


98  ARTISTIC   RETOUCHING. 

work.  A  broken  sewing  machine  needle  placed  in  a 
pen-holder  makes  as  fine  an  etcher  as  is  desirable — one 
this  size,  and  a  larger  are  enough  varieties  of  tools. 

Make  into  a  tool  of  this  shape    ^g Q£^^~~    have  the 

tool  flattened  more  like  the  blade  of  a  knife.  Use  the 
point  to  remove  little  spots  or  lines,  and  the  blade  for 
larger  places  on  the  face,  drapery  or  accessories. 

The  most  important  step  in  etching  is  that  the 
etcher  be  sharp,  so  sharp  that  it  will  shave  the  film,  in- 
stead of  scratching  it.  To  test  the  edge  of  the  blade, 
see  if  it  will  shave  off  evenly  the  finger-nail.  If  any 
part  scratches  into  it,  it  is  not  fit  for  use. 

As  the  film  is  smooth  and  hard,  it  is  far  easier  to 
do  good  work,  to  give  it  a  tooth.  Rubbing  a  little 
fine,  dry,  powdered  pomice  stone  on  the  spot  to  reduce, 
gives  it  tooth,  something  for  the  tool  to  take  hold  of. 
In  removing  parts  of  the  drapery,  back-grounds,  etc., 
or  any  large  high-light,  light-struck  part,  use  pomice 
stone  powder  with  a  little  sweet  oil  or  alcohol,  rubbing 
vigorously  with  the  finger  in  a  circular  motion;  these 
can  be  reduced,  perhaps  necessary  to  give  few  finish- 
ing touches  with  the  etching  tool.  The  sweet  oil  will, 
however,  have  to  be  removed  with  turpentine  or  gaso- 
lene, or  it  will  effect  the  print.  Powdered  pomice  stone 
mixed  with  equal  parts  of  glycerine  and  alcohol  is  also 
as  good  a  preparation ;  alcohol  being  a  reducer  in 
itself  alone.  Alcohol  with  this  powder  is  also  good. 
Free  the  negative  from  glycerine  before  printing. 

In  etching,  make  the  strokes  short  rather  than  long, 
more  even  result  is  obtained,  always  remembering  that 
as  soon  as  the  etcher  scratches  the  film,  it  is  not  sharp, 
and  useless  to  go  on. 


ARTISTIC   RETOUCHING.  99 

Wood  alcohol  can  be  used  as  a  reducer.  Take  the 
end  of  a  stump  or  rounded  stick  and  apply  to  the  spot, 
rubbing  or  pressing,  to  cause  the  over  amount  of  silver 
deposit  to  be  reduced. 

Etching  can  be  carried  to  a  great  extent.  Sketchy 
effects  in  back-grounds,  birds,  butterflies  and  the  like, 
may  be  worked  in  by  etcher,  India-ink,  red  opaque,  and 
the  like.  The  birds  in  the  illustration  were  made  in 
this  way.  Drawing  is  necessary.  Fore-grounds  in 
landscapes  may  be  etched  in,  flowers,  leaves  or  any- 
thing desirable. 

In  etching  in  the  shadows,  etching  must  be  done 
deeper  than  the  surrounding  tone,  because  the  scraping 
causes  the  film  to  be  less  transparent  than  the  surround- 
ing color.  Consequently  it  prints  lighter.  While  in  the 
lights,  the  extra  deposit  of  silver  causes  a  less  trans- 
parency and  etching  is  made  easier. 


100  ARTISTIC    RETOUCHING. 


CHAPTER   XV. 

STUMPING   NEGATIVES. 

D  Y  THIS  process  a  poor  negative  can  often  be  made 
good.    Flow  the  negative  on  the  glass  side  with 
ground  glass  substitute.     A  very  good  formula  is  the 
following : 

Gum    Sandarac    90  grs. 

Gum  Mastic  30  grs. 

Dissolve  in  Ether 2  oz. 

Add  Benzole 1  to  l^/o  oz. 

Never  use  more  than  IV2  oz.  Benzole  must  be 
good.  Flow  the  same  as  with  the  medium,  very  evenly. 
To  prevent  it  from  running  over  on  the  film  side,  rub  a 
little  sweet  oil  on  the  edge.  Many  photographers  flow 
all  their  negatives  thus  for  printing  qualities. 

After  the  substitute  has  dried,  place  the  negative 
in  the  desk,  glass  side  out.  Now  take  plumbago,  crayon 
sauce  or  pencil  scrapings  and  apply  with  a  chamois  or 
paper  stump  to  the  place  where  more  intensity  is 
necessary.  Fresh  bread  or  rubber  rubs  off  the  uneven- 
ness.  A  pencil  can  be  used  to  work  up  a  more  even  re- 
sult. Hair  can  be  worked  in  where  no  detail  exists, 
high-lights  raised  on  the  hair,  face  or  drapery. 

A  very  flat,  thin  negative  that  cannot  be  built  up 
entirely,  can  be  finished  by  this  means.  Back-grounds 
can  be  made  lighter  if  so  desired,  or  simplified.  High- 
lights can  be  built  up  to  a  very  good  advantage.  Copies 
can  be  helped  wonderfully. 

Copies  are  flat,  lacking  giadations,  sometimes  con- 


Music  of  the  Waves. 


ARTISTIC   RETOUCHING.  101 

trast.  If  the  negative  is  a  copy  and  is  very  flat,  etch 
away  the  back-ground,  leaving  about  an  eighth  of  an 
inch  around  the  figure.  Take  a  sharp  etcher  and  scrape 
the  eighth  of  an  inch  of  fihii  so  that  it  is  gradually 
etched,  making  a  blended  effect  into  the  back-ground 
from  the  figure.  This  gives  a  softness  that  could  not 
be  obtained  by  cutting  away  the  film  sharply.  Making 
an  occasional  proof  for  the  first  experiment  will  soon 
show  what  is  to  be  done.  Flowing  the  plate  with 
ground  glass  substitute  will  add  to  the  effect  in  the 
printing.  After  this  is  done,  the  high-lights  can  be 
built  up.  If  white  back-grounds  are  desirable,  a  posi- 
tive may  be  made,  treated  as  above,  building  up  the 
lights  first ;  then  the  positive  may  be  retouched,  build- 
ing in  the  half-tones  or  shadows.  The  negative  from 
this  can  then  also  be  worked  up  regarding  the  lights 
and  blended  edges  where  etching  had  been  done.  Have 
the  negative  and  positive  rather  thin  with  more  color ; 
gives  a  better  chance  to  build  up. 

Onion-skin  tissue  paper  placed  an  inch  from  the 
negative  while  printing,  adds  contrast.  Parts  may  be 
held  back  by  stumping  on  the  paper.;  or,  by  the  use  of 
two  or  three  thicknesses  of  paper  over  certain  parts. 
Use  of  sweet  oil  will  give  transparency  to  ground  glass 
or  paper  if  so  desired.  Red  or  yellow  paper,  or  both, 
add  greatly  to  printing  qualities  of  a  negative. 

Cracks  in  films  may  be  easily  removed  by  rubbing 
in  with  finger,  plumbago,  lampblack  or  pastels,  which- 
ever color  suits  the  negative  the  best. 

The  negative,  from  which  the  picture  entitled 
"Music  of  the  Waves,"  was  very  much  under-timed, 
but  by  retouching  and  stumping,  a  print  was  made 


102  ARTISTIC   RETOUCHING. 

possible  from  it.  It  is  to  be  remembered  that  a  luniiii- 
oiis  quality,  a  flesh  effect  can  be  gotten  or  kept  even  by 
much  retouching  that  is  necessary  in  such  cases  (to 
build  up),  if  the  retoucher  understands  the  stroke  and 
its  effect,  and  above  all  and  with  all,  that  he  possesses 
feeling.  For,  without  feeling,  a  retoucher  is  no  true 
retoucher.  Far  more  feeling  is  necessary  than  can  be 
expressed  in  words.  By  persistent  effort  this  comes 
sometimes  all  at  once. 


ARTISTIC   RETOUCHING.  103 

CHAPTER  XXVI. 

SPOTTING   NEGATIVES. 

A  NOTHER  branch  of  the  work  that  requires  pa- 
tience  and  care,  is  spotting.  Moisten  the  side 
of  the  thumb-nail  and  rub  on  some  India-ink.  Now 
moisten  the  brush  and  rub  in  the  ink,  whirling  the 
brush  on  the  nail  to  obtain  a  point.  Apply  to  the  spot 
or  pin-hole  at  once.  Fill  up  the  spot  to  meet  the  sur- 
rounding color  or  intensity.  If  the  ink  was  applied  too 
heavily,  etch  down  a  little  when  dry.  There  are  many 
causes  for  these  pin-holes,  being  mostly  due  to  dust 
being  on  the  negative  during  the  exposure,  or  while 
developing.  Use  of  old  developer  causes  these  same 
defects. 

The  ink  should  be  applied  with  a  No.  1  or  a  No. 
2  red  sable  brush,  tapering  to  a  point.  A  good  light  is 
best,  neither  too  strong  nor  too  weak.  A  little  experi- 
ence will  tell  how  to  regulate  the  illumination.  Differ- 
ent people  use  different  materials  for  spotting,  some  use 
Vermillion,  Prussian  or  other  blue.  It  matters  little 
what  is  used,  so  the  user  understands  the  color  and 
its  printing  effects.  Lampblack  is  a  good  color  or  me- 
dium, especially  for  spotting  prints. 

In  spotting  large  places,  it  is  better  to  apply  a  thin 
wash  to  give  it  a  tooth,  this  let  dry  thoroughly  before 
applying  any  more.  If  very  much  intensity  is  required, 
better  do  so  by  heavier  touches,  brush  being  charged 
with  much  ink.  If  not  much  intensity  is  required,  then 
broader  strokes  will  better  answer  the  purpose.     If 


104  ARTISTIC   RETOUCHING. 

in  any  case  there  has  been  too  much  ink  applied,  etch 
down  or  take  a  needle,  placed  in  a  holder,  and  stipple  it 
with  the  point  to  get  the  result.  Do  this  either  when 
moist  or  dry. 

One  difficulty  of  spotting  is  due  to  having  the  ink 
too  moist,  causing  it  to  run  off  the  glass.  Do  not  take 
the  brush  off  the  plate  too  rapidly,  give  the  color  a 
chance  to  pass  from  the  brush  to  the  negative.  Some- 
times the  ink,  as  much  as  is  wanted,  will  not  adhere, 
too  much  will  have  to  be  applied,  then  etch  down  to 
where  wanted.  With  brush  and  color,  by  a  skillful 
hand,  much  can  be  done  on  different  parts  of  the  nega- 
tive; as  building  up  lights,  giving  accent  to  drapery, 
etc. 

Now  that  the  retouching,  modeling,  etching,  stump- 
ing and  spotting  have  been  considered,  the  negative  or 
copy,  perhaps,  having  gone  thru  all  this,  the  negative 
may  be  viewed  at  a  distance  to  see  if  the  parts  in  each 
have  been  pulled  together  into  one  harmonious  whole. 

First  and  above  all,  keep  the  harmony  of  character 
in  the  individual,  the  whole  figure,  the  face,  the  hands, 
the  arms,  the  whole  picture.  In  the  young,  the  muscles 
are  very  pronounced;  in  the  older,  the  pronounced 
muscles  change  to  wrinkles  and  folds,  even  so  to  entire- 
ly change  the  shape  as  well  as  the  expression.  The  eyes, 
parts  surrounding  the  eyes,  the  labial  furrow  and 
mouth,  here  greatest  changes  in  expression  are  noticed. 
Folds  and  wrinkles  which  are  caused  by  contraction  of 
the  muscles,  run,  always,  in  a  cross  direction  to  the 
muscles  themselves,  as  example,  in  the  forehead  the 
muscles  run  up  and  down,  the  transverse  lines  run 
across  the  forehead. 


ARTISTIC   RETOUCHING.  105 

While  age  has  been  giving  placement  to  the  lines 
and  folds,  the  character  of  the  individual  has  been 
moulding  them.  There  must  be  harmony  kept  in  all  the 
parts,  even  in  the  skin.  The  skin  itself  has  expression ; 
as  age  advances  it  carries  Mrith  it  its  individual  skin 
texture.  The  skin  of  a  child,  that  of  a  boy  or  girl,  that 
of  an  adult,  then  the  aged,  each  possessing  their  pecu- 
liarities, these  should  be  beautifully  kept.  Great  care 
should  be  used  in  softening  age,  but  keep  the  charac- 
ter. Avoid  retouching  a  man's  face  who  shows  respon- 
sibility, care,  hard  work,  into  one  insipid  or  weak,  ex- 
pressionless face.  Men  of  these  distinctive  character- 
istics, these  strong  marks  might  better  to  be  brot  for- 
ward, or,  at  least,  kept  very  carefully. 

The  greatest  difficulty  among  retouchers  is  their 
lack  of  knowledge  as  to  what  is  required  in  high  class 
retouching,  rendering  inanimate  what  is  full  of  life 
and  feeling,  having  solidified  in  retouching,  losing  all 
delicate  atmospheric  effects,  the  invisible  something 
that  lies  in  suggestion.  Examine  a  negative,  the  feeling 
in  it,  the  going  back  or  setting  in  of  the  image  in 
atmosphere,  and  how  taken  out  of  its  plane  by  hard 
retouching  and  much  retouching.  A  good  picture 
stands  in  and  is  surrounded  by  atmosphere ;  a  poor  one 
stands  out,  lacking  the  grandest  qualities.  How  few 
photoghraphers  understand  what  is  meant  when  they 
say,  "How  the  face  stands  out,"  little  knowing  they 
know  nothing  of  wherein  true  pictorial  qualities  exist. 

The  mechanical  retoucher  destroys  where  the  ar- 
tistic almost  fears  to  tread.  Very  fine  judgment  is  used 
when  known  where  not  to  touch  a  negative.  Good  art 
principles  are  used  when  known  hozv  to  touch  a  nega- 
tive. 


106  ARTISTIC   RETOUCHING. 

CHAPTER  XXVII. 

VIEW   NEGATIVES. 

jVI  EGATIVES  of  landscapes,  where  foliage  or  grass 
moved  during  exposure,  making,  perhaps,  the 
negative  worthless,  can  be  made  satisfactory  by  judi- 
cious use  of  a  soft  pencil  or  brush,  with  color,  or  by 
stumping.  Treat  not  as  separate  leaves  or  blades  of 
grass,  but  as  masses  of  light  and  shade,  sharpening  the 
accents  of  highest  lights;  the  strength  of  this  being 
according  to  its  place  in  perspective. 

By  use  of  any  of  these  means,  shadows  can  be 
lightened,  broken  lines  be  corrected,  high-lights  added, 
foregrounds  strengthened,  thereby  subduing  distances, 
or  strengthen  distances  and  add  or  remove  objects. 

Clouds  can  be  worked  into  negatives  by  use  of 
stumping,  as  described  under  its  heading.  Best,  how- 
ever, to  study  some  good  picture  of  clouds  as  to  their 
forms  and  masses, — pictures  by  artists.  The  same  may 
be  said  of  water,  pools,  creeks,  ponds,  or  waves  of  the 
sea.  Of  all  that  might  be  said  on  these  subjects,  noth- 
ing will  help  so  much  as  observation  with  study  and 
practice  of  handling  the  material,  practice : 

"Nature  is  loved  by  what  is  best  in  us." 


Bubbles  of  Childhood. 


ART  AND  NATURE.  107 

CHAPTER  XXVIII. 

ART  AND  NATURE. 

r^  OETHE  says,  "Art  is  called  art,  simply  because  it 
^^  is  not  nature.  An  artist  should  not  be  a  mere 
copyist.  Something  higher  and  more  subtle  is  required. 
The  beautiful  and  the  pure  idea  must  be  in  the  mind, 
then  it  is  no  matter  what  the  model  is." 

"Art  endeavors  to  convey  the  impression  of  the 
original  under  some  especial  aspect." 

Plato  says,  "If  you  take  a  man  as  he  is  made  by 
nature,  and  compare  him  with  an  another  who  is  the 
effect  of  art,  the  work  of  nature  will  always  appear  the 
less  beautiful." 

Take,  for  instance,  a  log  cabin,  place  it  in  a  picture 
artistically  executed,  and  see  how  much  more  beautiful 
and  interesting  it  becomes.  It  is  because  the  human 
element,  the  human  soul  is  introduced  into  the  picture. 
The  human  soul  is  the  grandest  thing  in  the  world. 
The  Creator  being  the  grandest  artist,  having  created 
all  things,  nature  with  all  its  moods,  the  human  soul 
with  all  its  powers  of  feeling  and  expression.  He  being 
the  all  perfect,  we  struggling  for  this  perfection.  Na- 
ture itself  not  being  perfect ;  nature,  with  all  its  ob- 
jects, but  the  human  soul  of  the  true  artist  endeavors 
to  express  nature  at  its  best,  at  its  highest,  at  its  purest, 
at  its  most  beautiful,  no  matter  what  the  object  may  be, 
either  a  log  cabin  or  a  simple  scene  so  grandly  ex- 
pressed by  Corot ;  or  a  humble  scene  expressed  by 
humble  subjects,  as  Millet's  "Angelus,"  or  his  "vSower;" 


108  ART  AND  NATURE. 

or  it  may  be  some  great  conception  as  the  ''Sistine  Ma- 
donna," by  Raphael ;  or  a  representation  of  the  mighty 
Prophets  of  Michael  Angelo ;  or  the  grand  paintings  of 
Rembrandt. 

Worldly  objects  are  inferior  to  the  soul.  These 
artists  put  themselves  into  their  productions ;  their  true 
greatness  of  soul,  their  highest,  purest,  grandest  feel- 
ings were  expressed  in  their  productions.  They  have 
used  nature  and  expressed  it  in  the  highest  and  best 
as  to  expression,  composition,  color,  harmony  of  lights 
and  shades  and  feeling.  It  took  each  his  individual  self 
to  express  his  inward  self,  brot  out  in  his  productions. 

Painting  is  like  poetry.  Think  for  a  moment  how 
far  from  reality  is  poetic  language ;  what  grand  figures 
of  speech  it  contains.  It  is  instantly  seen  that  poetry 
is  ideal,  using  the  real  only  as  a  means,  the  trees,  the 
houses,  people,  nature  itself.  It  is  the  same  in  art. 
These  objects  are  the  tools,  the  means  to  express  the 
ideal,  just  as  in  poetry.  The  painter  must  strive  after 
the  ideal,  the  poet  must  strive  after  the  ideal,  or  he 
could  not  be  a  poet.  The  artist  cannot  be  an  artist  if  he 
strives  merely  after  the  real.  The  artist  must  have  the 
real  to  give  his  work  life,  but  the  real  without  the  ideal 
lacks  beauty  in  itself.  This  is  true  of  an  artist  who 
expresses  his  language  thru  a  picture  or  a  poem. 

The  same  might  be  said  of  music.  The  musician 
who  understands  pitch,  scale  and  fingering,  and  yet 
does  not  express  feeling,  passion  or  sentiment,  is  not  a 
true  musician.  He  simply  goes  thru  the  mechanical 
part  of  the  composition  and,  perhaps,  perfectly  too,  as 
far  as  technique  is  concerned,  making  it  simply  a  se- 
lection of  realism  and  not  idealism,  lacking  pure 
feeling. 


ART  AND  NATURE.  109 

A  certain  truth  to  nature  is  necessary.  In  portrait- 
ure, the  object  is  not  merely  to  paint  the  feautures,  but 
more  ^han  that,  to  express s  character,  Hfe,  a  something 
of  the  individual.  Art  is  not  painting  apples  and 
grapes  in  such  a  manner  that  you  stretch  out  your  hand 
to  pick  them  up.  That  would  be  deception.  The  artist 
paints  them  in  such  a  way  that  he  brings  out  some 
beauty  that  he  feels,  that  he  wishes  the  observer  to  see. 
We  must  remember  that  nature  is  not  in  every  case 
art,  realism  without  idealism  is  not  high  art.  The  more 
nature  is  studied,  the  nearer  to  art  one  gets.  True  art 
is  nature,  nature  with  its  objects,  its  life,  its  feeling. 

To  realize  ideas  there  must  be  forms,  to  idealize 
thots,  there  must  be  forms  and  colors ;  to  have  ex- 
pression, there  must  be  life;  and  life  without  expres- 
sion, is  realism.  The  artist  who  strives  merely  to 
paint  nature  without  any  hope,  ambition  or  object, 
merely  of  copying  nature  as  she  is,  is  but  unsuccessfully 
rivaling  the  photographic  camera. 

The  object  of  art  is  to  express  the  "ideas  and 
m.eanings  of  men."  In  representing  a  landscape,  it  is 
not  the  aim  of  the  artist  to  paint  leaf  by  leaf,  blade  of 
grass  by  blade  of  grass ;  it  is  to  express  some  life,  some 
feeling  connected  with  the  scene,  to  obtain  high  art. 
For  example,  a  small  and  very  simple  landscape  by 
Van  de  Velde.  It  is  a  sandy  plain,  a  winding  road,  a 
peasant  followed  by  a  dog.  But  over  all  hangs  a  veil 
of  sadness  which  touches  the  heart.  Another  is  a  deep 
forest,  a  fallen  beech  tree,  with  a  sheet  of  stagnant 
water  almost  hidden  by  water  lilies.  There  are  two  or 
three  webbed-footed  birds  standing  on  them  and  one 
passing  in  the  distance.  The  scene  expresses  silence, 
mystery  and  soft  melancholy. 


110  ART  AND  NATURE. 

Further,  what  is  the  object  of  any  language,  except 
to  express  an  idea,  a  thot,  a  conception  or  a  feeling  of 
the  heart.  If  neither  have  any  meaning,  it  is  of  no  avail. 
It  is  the  impression  of  the  artist's  conception,  feeling  or 
thot  brot  out  in  his  language  that  makes  it  a  work  of 
art. 

The  object  of  art  is  to  please,  and  the  value  of  a 
picture  or  a  poem  depends  very  much  on  the  quality 
and  quantity  of  pleasure  given.  In  viewing  a  picture, 
strive  to  see  what  the  artist  sees,  look  for  the  artist's 
meaning  in  his  picture,  and  after  the  longer  one  studies 
it,  the  more  of  worth  he  finds  in  the  picture.  The  ob- 
ject of  any  true  artist  is  to  reveal  to  the  world  a  hidden 
beauty.  This  hidden  beauty  may  be  in  a  very  common 
place  object.  There  is  beauty  in  the  ugly.  Age  pos- 
sesses it  as  well  as  youth.  Rembrandt  showed  it  in  his 
aged  and  wrinkled  faces.  Israels,  one  of  the  grandest 
of  modern  painters,  showed  beauty  in  his  coarse-fea- 
tured peasants,  also  did  Mauve  and  Millet.  Their  pic- 
tures are  filled  with  a  charm,  and  yet  they  did  not  use 
pretty-faced  studio  models.  The  grandest  beauty  lies 
in  the  "conception  of  the  human  mind,"  beauties  of 
form  or  texture  are  not  to  be  compared  with  it. 

It's  life  that  is  wanted,  and  not  the  things  them- 
selves. The  more  a  person  studies  nature,  the  more 
unexpected  beauty  he  finds — even  in  things  that  he 
once  disliked.    High  art  consists  in  seeking  for, 

"Whatsoever  things  are  lovely, 
Whatsoever  things  are  pure." 

It  is  the  imagination  that  should  be  stirred.  It  is 
not  as  if  striving  for  the  texture  of  a  trunk  of  a  tree 


ART  AND  nature;.  Ill 

SO  that  the  tree  shows  even  its  very  grain  to  make  it 
deceptively  real.  Such  detail  is  tiring,  uninteresting, 
and  to  say  the  least,  can  never  be  done  perfectly.  Na- 
ture's detail  can  never  be  reached  by  any  human  hand ; 
it  is  nature's  higher  elements  and  attributes  to  be  de- 
sired. Bring  in  as  much  truth  as  possible,  not  to  go 
beyond  impressions,  however.  In  looking  at  a  tree, 
one  never  examines  it  as  to  its  minuteness  of  detail, 
but  as  to  its  general  effect,  enough  detail,  perhaps,  to 
designate  the  kind  of  tree,  or  its  peculiarities  of 
growth.  It  is  not  the  weave  of  any  fabric  that  is  de- 
sirable, but  its  eflfect,  whether  a  soft  material,  a  loose, 
a  light  or  a  heavy,  whether  possessing  a  sheen  or  the 
like.    Get  the  impression  of  it. 

Corot  put  into  his  pictures  poetry  and  truth  im- 
pressions. "It  is  impossible  to  get  any  poetry  out  of  a 
bunch  of  turnips."  "The  soul  of  each  artist  is  a  mirror 
in  which  nature  comes  to  reflect  herself  in  a  peculiar 
manner,"  much  being  the  result  of  selection  also. 

The  most  beautiful,  most  subtle,  most  sublime  ef- 
fects in  nature  or  in  human  expressions  are  the  effects 
that  last  but  for  a  moment's  time;  they  are  fleeting. 
The  artist  must  be  able  to  catch  these,  must  be  able 
to  perceive  them,  recognize  them  when  before  him. 
He  cannot  interpret  nature  until  he  knows  what  nature 
is,  neither  can  he  interpret  beauty  'till  he  knows  what 
beauty  is.  In  the  varied  moods  of  nature,  in  the  varied 
expressions  of  individuals,  there  are  countless  beauties, 
beauties  unknown ;  these  are  the  most  wonderful,  rarest, 
infiinite  of  beauties. 

A  picture  may  be  produced  by  a  painter,  by  a  pho- 
tographer, or  a  statue  may  be  modeled  by  a  sculptor. 


112  ART  AND  NATURK. 

and  yet  neither  one  be  a  work  of  art.  They  may  have 
the  reaHstic  technique  and  lacking  in  the  very  qualities 
of  art.  Mind  is  over  matter,  spirit  is  over  matter ;  the 
soul  must  be  the  picture,  not  matter  the  picture.  If 
nature's  true  picture  does  not  touch  the  heart,  then  art 
is  unknown  to  the  individual. 

"Things  more  excellent  than  every  image,"  says 
Jamblichus,  "are  expressed  through  images."  They 
"become  a  new  and  higher  beauty,  when  expressed." 
"Nature  is  one  thing  and  the  other  thing,  in  the  same 
moment." 


Madonna  and  Child 


ART    AND    PHOTOGRAPHY.  113 

CHAPTER  XXIX. 

ART  AND  PHOTOGRAPHY. 

A  NYONE  who  creates  a  work  of  art  is  an  artist.  It 
matters  not  whether  he  is  an  artist  or  an  ama- 
teur in  art  or  photography  so  long  as  he  produces  a 
picture  that  expresses  an  idea,  a  something  beyond  the 
materiaHsm  of  things.  This  occurs  with  a  poet,  a  nui- 
sician  as  well  as  a  sculptor,  painter  or  photographer. 
The  poet  uses  his  grammar  and  rhythm  to  move  the 
heart  to  tears  or  to  thots  of  sublimity ;  the  musician 
understands  pitch,  scale  and  fingering  to  bring  out  the 
soul  in  his  music;  the  sculptor  must  use  his  tools  for 
modeling  and  understands  form ;  the  painter  must 
understand  drawing,  modeling  and  effects  of  color  to 
bring  out  his  ideas ;  so  the  photographer  must  use  and 
understand  his  lens,  his  developer,  modeling  under  the 
sky-light  and  at  the  retouching  desk,  and  his  papers. 
Each  must  understand  the  language  of  his  own  art  and 
the  means  by  which  his  art  is  attained ;  he  must  under- 
stand his  technique.  Each  art  contains  its  own  beauty, 
which  cannot  be  produced  or  expressed  by  any  other. 
Feelings,  thots  and  ideas  may  be  expressed  thru  a 
means,  whatever  that  means  may  be,  and  yet  not  make 
that  means  an  art  in  itself.  A  painter  can  paint,  a 
sculptor  can  carve,  a  photographer  can  produce  a  pic- 
ture, a  poet  can  write  a  poem  or  a  musician  can  play 
a  piece  and  each  be  a  work  of  art,  according  to  the  ex- 
pression wrought  out,  tho  each  used  a  different  me- 


114  ART    AND    PHOTOGRAPHY. 

dium.  In  one,  the  attainment  of  result  may  be  more 
difficult  than  in  another,  but  whatever  the  form  of  ex- 
pression makes  it  an  art. 

A  painter  has  an  advantage  over  the  photographer 
in  having  the  subject  before  him  at  a  much  longer 
period  of  time,  having  a  better  opportunity  to  study  his 
subject,  to  find  out  his  grandest  qualities.  There  are 
moods,  however,  sometimes  rarely  expressed,  which 
show  the  personality  of  jthe_jndiyidualjn_a^leam  or  a 
flash.  Artists  often  have  a  wild  desire  to  grasp  these, 
which  he  cannot,  unless  this  expression  makes  such  an 
impression  that  he  may  transfer  it  to  canvas  from 
memory.  Here  the  photographer  has  the  advantage ; 
if  he  is  ready  at  the  right  moment.  But  with  tact  and 
skill  he  can  work  for  the  desired  expression  or  \yatch 
for  a  fleeting  one.  Take  the  principle  of  the  artist  who 
had  a  subject  that  brot  a  different  face  to  the  studio 
every  time  she  came.  He  took  the  method  of  talking 
about  books,  pictures,  even  about  the  "glossy,  green 
parrot,"  finally  getting  the  unconsciousness  of  his  sub- 
ject, he  was  able  to  go  to  work  again.  The  photog- 
rapher must  often  do  this  to  get  the  unconsciousness  of 
his  subject,  when  that  accomplished,  wait  for  a  grand 
opportunity  and  thereby  get  a  picture  worthy  of  notice. 
This  is  easier  of  access  now  with  quick  lenses,  quick 
plates  and  the  use  of  flash-light  machines. 

Since  the  medium  of  any  art  is  not  art  itself,  but  the 
means  thru  which  art  is  expressed,  then  the  argument 
by  some  that  photography,  as  soon  as  the  exposure  is 
made,  becomes  a  science,  no  longer  holds  good.  For 
developing,  retouching,  printing  and  mounting  are  each 
not  mechanical  or  scientific  alone,  but  to  an  artistic  pho- 


ART   AND    PHOTOGRAPHY.  115 

tographer  has  an  extraordinary  range  of  possibilities, 
all  for  the  desired  print,  the  picture.  A  first-class  pho- 
tographer can  develop  to  retain  atmosphere  or  the  in- 
tangible, invisible  subtleness  that  should  be  desired  in 
any  picture.  Here  he  can  control  the  gradations  of  light 
and  shade  and  pitch  of  tone-values ;  produce  a  desired 
softness,  or  a  boldness  or  contrast.  Judgment  must  be 
used  as  to  the  color  of  the  negative  and  even  its  dry- 
ing has  modifications.  Anything,  in  fact,  that  harmon- 
izes with  the  subject  at  hand,  in  all  this  there  must  be 
taste  displayed  and  sound  judgment. 

One  of  the  greatest  essentials  in  photography  is  a 
clear  kiminous  negative ;  a  negative  not  alone  contain- 
ing the  proper  pitch  of  illumination  in  harmony  with 
the  subject  at  hand,  but  a  luminous,  loose,  clear  nega- 
tive ;  the  grandest,  most  beautiful  technique  possible  is 
necessary  to  produce  the  delicate,  artistic,  atmospheric 
effects  with  soft  flesh  notes.  The  negative  should  have 
a  muscle  to  it,  have  a  body. 

The  possibilities  of  scientific  photography  as  well 
as  art  photography,  are  yet  quite  unknown.  What 
if  the  sensitive  film  became  so  sensitive  as  to  be  im- 
pressed with  human  thots. 

The  timing,  too,  of  a  negative,  is  left  to  the  operator 
as  to  the  result  desired.  Also  the  selection  and  use  of 
the  lens,  counts  for  much  in  the  value  of  a  picture ; 
there  being  many  different  kinds  of  lenses.  Each  must 
understand  his  lens  and  to  what  extent  he  can  modify 
the  diffusion  or  focusing  according  to  the  definition 
desired  in  the  picture  image.  In  this  is  often  the  pe- 
culiar individualities,  of  the  different  noted  photog- 
raphers expressed.    It  is  the  artist  in  his  work. 


116  ART    AND    PHOTOGRAPHY. 

Next,  the  retouching.  The  foregoing  chapters  have 
told  how  an  important  a  factor  retouching  is  to  artistic 
work. 

Then  there  is  the  print.  The  printer  has  control 
over  what  medium  he  wishes  to  use,  even  to  the  color 
or  tone,  that  would  give  the  most  harmonious  artistic 
result,  whether  he  use  the  beautiful  platinum  with 
its  modifications  of  the  glycerine  process  and  the 
like ;  the  carbon  or  the  ozopype  print.  He  can  by 
hand  manipulations  control  the  lights  and  shades, 
the  contrast  by  use  of  tissue  paper,  ground  glass 
substitute  or  coloring  on  the  back  of  the  negative, 
whether  printed  by  sun-light  or  shade,  direct  or  dif- 
fused. The  carbon  or  gum-bichromate  print  is  sub- 
ject to  many  modifications  by  water,  uses  of  brush  or 
cotton.  And  last,  but  not  least,  is  the  mount  or  frame. 
Much  depends  on  the  effect  of  the  finished  picture  by 
its  style  of  completeness.  An  inartistic  finisher  may  de- 
cidedly mar  what  would  otherwise  have  been  beautiful. 

The  result  all  depends  on  the  individual,  whether  he 
is  an  idealist  or  a  realist ;  the  former  putting  feeling 
into  all  he  does,  the  latter  accepting  what  comes,  going 
thru  it  all  mechanically.  From  the  lens  down  to  the 
mount,  the  former  has  much  power  in  personal  manipu- 
lations to  model  his  picture,  not  speaking  of  the  power 
he  has  in  the  lighting,  posing  and  expression,  which 
may  be  given  before  the  lens  is  touched.  What  may  not 
such  a  photographer  accomplish  in  the  art  sphere  by 
such  skill  as  this  ?  To  obtain  this,  requires  sincerity  of 
purpose,  an  honest  desire  to  do  one's  best  and  no  com- 
promise ;  with  these  tools,  it  is  difficult  to  say  what 
might  yet  be  done. 


ART    AND    PHOTOGRAPHY.  117 

Emerson  says,  "Nature  offers  all  her  creatures  to 
him  as  a  picture — language.  Being  used  as  a  type,  a 
second  wonderful  value  appears  in  the  object,  far  bet- 
ter than  its  old  value,  as  the  carpenter's  stretched  cord, 
if  you  hold  your  ear  close  enough,  is  musical  in  the 
breeze." 


118  CHARACTER. 

CHAPTER  XXX. 

CHARACTER. 

/'CHARACTER  is  expression.  "Character  is  beauty." 
^^  "Character  is  existence."  "It  is  the  stamp  and 
image  of  our  minds  and  principles."  Character  is  in- 
dividuahty. 

The  study  of  mankind  is  interesting ;  his  anatomical 
structure,  his  physiognomy.  The  latter  containing  the 
nervous  system,  including  the  mind,  which  is  the  other 
side  of  humanity,  the  spiritual.  Mankind  differs  widely 
in  appearance,  in  opinion  and  in  character,  and  it  is  the 
duty  of  the  artist  to  study  these  latter  to  bring  out  the 
true  character  of  each  individual.  It  is  not  lighting, 
composition  or  photographic  technique  that  the  public 
eye  recognizes,  but  the  expression ;  the  effect  or  result 
is  felt  by  them  not  knowing  what  has  even  aided  to 
produce  this. 

Character  is  also  shown  by  the  attitude  of  the  hu- 
man figure  as  well  as  by  the  soul  expressed  in  the 
face.  By  the  figure  is  expressed  many  feelings  which 
fall  in  perfect  harmony  with  these  inward  natural  feel- 
ings. The  figure  commands,  threatens,  entreats,  re- 
fuses, admires,  beckons,  confesses,  expresses  fear,  doubt 
or  shame.  It  gladens,  complains,  flatters,  applauds, 
blesses,  besides  countless  other  expressions.  The  hands 
next  to  the  face  are  the  greatest  means  of  expression. 
Each  feeling,  each  thot  is  capable  of  being  translated 
into  action.  In  other  words,  it  is  the  thot  and  feeling 
that  enters  into  the  hands  or  whatever  part  of  the  body 


Consolation. 


CHARACTER.  119 

that  is  used  to  express  this  certain  sentiment  or  feel- 
ing, thereby  the  language  of  the  body  being  in  perfect 
harmony  with  the  inward  self. 

Character  is  beauty.  Form  indicates  character  also. 
The  desire  for  physical  perfection  and  beauty  is  almost 
universal.  The  soul  is  the  greatest  agent  used  in  mold- 
ing or  beautifying  the  body.  A  beautiful,  expres- 
sive face  may  be  completely  remodeled  into  another  by 
change  of  opinion  and  feeling.  The  grandest  beauty  is 
beauty  of  expression^  or  grandeur  of  expression.  It 
may  not  always  come  from  beauty  of  features  or  per- 
fectness  of  features.  A  cross,  ill-tempered  child  is  not 
beautiful,  take  the  same  child  with  a  gentle,  loving  dis- 
position, and  see  how  beautiful  he  is.  Mankind  has 
much  to  do  with  making  their  own  beauty  or  ugliness. 
Take  a  homely  face  and  give  it  a  good  expression,  let 
it  represent  some  fine  character,  and  it  at  once  be- 
comes pleasing.  A  beautiful  face  with  advancing 
years  may  remain  beautiful  with  a  crown  of  silver 
hairs.  Goodness  improves  the  expression  the  longer 
it  exists  in  the  individual.  A  sweeter  expression  often 
exists  in  the  aged  than  exists  in  the  one  of  eighteen, 
such  is  a  character  founded  on  a  well-rounded  life,  on 
lofty  principles. 

The  character  of  each  individual  is  expressed  in  his 
individuality.  To  represent  true  character  is  to  give  a 
true  representation  of  life,  existence.  This  is  the  duty 
of  an  artist  or  a  photographer.  Preserve  the  charac- 
ter of  the  subject,  selecting  that  individuality  that  adds 
most  beauty.  It  is  this  distinctive  individual  character 
that  marks  beauty.  There  is  some  beauty  in  everyone, 
the  same  as  there  is  some  good  in  everyone.     It  is 


120  CHARACTER. 

sometimes  hard  to  find,  but  persevere  and  it  will  be 
found  in  either  one  form  or  another.  Some  find  it 
hard  to  find  this  beauty,  finding  only  beauty  here  and 
there,  thinking  their  ideal  high,  even  boasting  of  their 
high  ideals.  It  is  uncultivated  taste,  a  lack  of  knowl- 
edge of  what  constitutes  true  beauty.  If  this  were 
true,  what  comparatively  few  poems  could  be  written, 
what  few  masterpieces  of  art  painted,  and  so  on.  It  is 
said  of  the  artist  that  he  sees  beauty  even  in  a  mud  pud- 
dle. Nature  quite  understood  what  she  was  about 
when  she  designed  this  infinite  variety  of  things,  giv- 
ing, to  everything  a  true  characteristic  of  its  own,  even 
in  the  material  things  of  this  world. 

In  portraiture  the  true  characteristics  must  be  ap- 
preciated to  make  a  success.  Cultivate  seeing  beauty  in 
defects,  hunt  for  it — and  it  will  be  an  astonishment 
how  much  beauty  there  is  even  in  crude  forms  vmno- 
ticed.  Get  the  character  of  the  subject,  then  with  light- 
ing, timing,  developing,  retouching  and  finishing,  the 
picture  can  be  made  as  charming  as  is  desired.  Don't 
be  alarmed  at  irregular  features.  Rembrandt,  Holbein, 
Velasquez,  some  of  the  most  renowned  painters  of  ex- 
pression and  character,  used  subjects  wrinkled  and  ir- 
regular in  feature.  They  have  proven  how  vastly  su- 
perior and  more  beautiful  is  a  characteristic  face  than 
one  that  is  simply  pretty  in  features.  Rembrandt's 
picture  in  the  Louvre  of  nothing  more  than  a  "Dressed 
Beef,"  has  been  pointed  to  with  great  pride  as  a  proof 
that  the  subject  of  a  picture  has  no  consequence,  pro- 
vided it  is  well  handled.  This  principle  can  be  applied 
wonderfully  to  photography.  It  all  depends  how  sub- 
jects are  handled  in  the  studio,  and  what  is  done  to 


CHARACTER.  121 

bring  about  the  finished  picture.  For  any  especial  sub- 
ject, idea  or  purpose,  selection  is  necessary.  A  good 
maxim  would  be  to  bring  about  beauty  in  spite  of  the 
subject,  as  so  many  of  the  painters  did. 

Whatever  is  of  good  in  the  subject,  bring  it  out  and 
credit  is  due  for  having  truly  made  a  portrait.  Get 
expression,  get  the  something  that  is  suggestive  of 
the  inward  self,  the  soul.  Study  the  face  as  a  whole  or 
the  figure  as  a  whole,  and  don't  allow  the  eyes  to  rest 
too  long  on  the  imperfections,  but  look  for  enhancing 
of  the  good  points  and  then  the  subduing  or  hiding  of 
the  bad.  The  higher  our  ideal  of  things,  the  higher  will 
be  our  expression  of  beauty  of  character,  and  more  of 
a  blending  of  all  of  the  characteristics  into  one  pic- 
ture. Always  remember  there  is  as  much  character  in 
a  hand  as  the  face. 

Infants  before  they  have  become  sensible  to  inward 
feelings  or  emotions,  before  they  are  capable  of  thots  or 
expressions  of  thots,  before  teeth  have  made  their  ap- 
pearance, are  quite  devoid  of  expression  and  quite  un- 
satisfactory as  subjects.  Then  again,  in  the  aged, 
when  the  teeth  have  disappeared,  the  muscles  become 
relaxed,  there  is  also  less  variety  of  expression. 

A  photographer  has  a  great  and  wonderful  prob- 
lem, the  proper  handling  of  each  individual.  Rem- 
brandt chose  only  those  subjects  that  had  a  signifi- 
cance, a  force  of  character.  Pictures  are  impressive 
agents,  and  should  be  produced  with  delicate  and 
thoughtful  handling.  To  get  a  likeness  is  not  so  hard, 
but  to  produce  just  character  is  infinitely  difficult.  It 
may  be  no  more  than  the  folds  of  a  dress,  but  it  has  its 
individual  characteristics. 


122  CHARACTER. 

In  conclusion,  the  character  of  things  must  be  felt 
to  be  able  to  produce  them.  If  one  is  deeply  im- 
pressed with  the  character  of  things,  then  the  picture 
will  have  accomplished  a  great  purpose  whether  it  be 
a  work  of  art  or  a  work  of  photography. 

"Manners  are  not  idle,  but  the  fruit 
Of  noble  nature  and  of  loyal  mind." 


Childhood's  Reflections. 


CHIAROSCURO.  123 


CHAPTER  XXXI. 

CHIAROSCURO. 

r^  HIAROSCURO,  or  light  and  shade,  is  the  cre- 
^^  ator  of  the  appearance  of  reahty.  Without  this, 
pictures  would  be  mostly  outline.  The  painters  in  the 
days  of  the  Pharaohs  made  no  use  of  light  and  shade. 
They  only  saw  outline  of  form.  The  Egyptian  battle- 
pieces  contain  no  shadows ;  neither  do  their  wall-pic- 
tures. The  absence  of  chiaroscuro  shows  fully  its  im- 
portance in  the  picture. 

There  is  nothing  in  nature  from  a  stone  to  a  moun- 
tain that  does  not  possess  its  light  and  shade.  There 
is  always  a  highest  point  of  light  and  a  point  of  deepest 
shade,  and  it  is  the  preserving  of  these  in  their  proper 
relations  with  the  intervenig  tones  that  gives  to  objects 
the  rounded  naturalness  of  appearance.  Each  object 
must  have  its  due  proportion  of  light  and  shade.  It  is 
immaterial  as  to  the  intensity  of  the  light,  so  that  it  is 
continuous  and  rounds  out  proportionately  throughout, 
having  a  perfect  balance.  It  matters  not  whether  the 
picture  is  made  in  open  sim-light  or  in  a  studio,  the 
proportionate  relations  between  the  lights  and  shades 
must  be  kept,  no  difference  what  the  pitch  or  key 
is.  No  matter  how  much  an  artist  may  love  light, 
he  always  off-sets  it  by  certain  quantities  of  shade. 
Rembrandt,  Corregio  and  Murillo,  who  loved  shadow, 
cannot  be  said  to  have  used  too  much  shadow ;  for  they 
always  set  them  off  by  lights  in  strong  contrast,  giving 


124  CHIAROSCURO. 

brilliancy  of  effect.  It  is  unity  of  illumination  that  pro- 
duces an  artistic  lighting.  All  true  shadows  are  true 
contrasts  to  their  lights. 

Rembrandt  was  a  master  of  light  and  shade;  his 
brilliant  effects  have  appealed  very  strongly  to  the  pub- 
lic eye.  No  painter  has  shown  such  deep  transparent, 
mysterious  shadows,  such  soft  blendings,  such  beauti- 
ful detail  in  such  depth  and  yet  so  broad  and 
simple.  Of  his  pictures,  usually  there  existed  one- 
eighth  light  and  seven-eighths  shade.  Rubens  admitted 
more  light  than  a  quarter.  The  picture  that  possesses 
the  most  shade,  the  light  will  be  the  most  brilliant. 
Rembrandt  "revelled"  in  shade,  while  Turner  in  light. 
To  obtain  the  best  result  the  light  should  come  from 
one  source  and  the  same  effect  should  prevail  through- 
out the  whole  picture.  To  have  a  scene,  the  source  of 
light  being  from  one  direction  and  to  print  in  clouds 
with  light  falling  on  them,  from  an  opposite  source,  is 
poor  art. 
,  .,  There  are  three  good  qualities  necessary  to  artistic 
•  lighting ;  first,  a  one  source  of  light ;  second,  a  proper 
i  balance  of  light  and  shade ;  third,  that  the  picture  con- 
tains a  center  of  light  from  which  all  other  lights  and 
half-lights  radiate  and  decrease  in  tone  until  lost  in 
shadow  or  half-shadow.  Half-shadows  being  in  a 
lower  key  than  half-lights,  the  two  being  half-tones. 

There  must  be  a  central  and  highest  light ;  in  por- 
traiture it  should  be  the  lights  on  the  face  if  the 
drapery  is  not  in  a  higher  key  than  the  flesh-notes.  If 
the  drapery  is  in  a  higher  key,  let  the  highest  light  be 
the  strongest  on  the  shoulder  near  the  face  to  concen- 
trate the  light  force  near  the  center  of  attraction,  then 


CHIAROSCURO.  125 

tone  down  to  tender  gradations  into  lower  tones  as 
the  distance  increases  from  the  central  illumination. 

For  an  extreme  case  of  concentration  of  light  or 
central  light,  the  sun  as  it  rises  or  sets,  is  a  good  ex- 
ample ;  a  lamp  in  a  room  is  another ;  the  light  radiating 
away  from  the  lights  of  illumination.  For  a  milder 
example,  the  light,  as  it  falls  in  the  studio,  has  its 
strongest  light  centralized  at  one  point,  from  there 
radiating  in  lower  tones  to  the  sides  of  the  room. 
Art  is  based  on  this  important  principle. 

Compare  the  shadow  cast  by  an  object  with  the  ob- 
ject itself  casting  the  shadow  and  notice  how  much 
darker  the  shadow  that  is  cast  than  the  object  itself. 
Place  a  finger  perpendicularly  on  a  sheet  of  paper  and 
notice  the  shadow  cast  by  the  finger  and  compare  the 
shades  with  the  shadow  cast.  Notice  that  the  strongest 
part  of  the  shadow  is  nearest  the  object.  In  a  person's 
face  the  shadow  cast  by  the  chin  is  much  darker  than 
the  chin  itself.  Notice  that  the  greatest  depth  of  this 
shadow  is  nearest  the  chin,  usually  toning  in  softer  gra- 
dations of  tones  at  the  extremities;  the  longer  the 
shadows,  the  more  tender  the  gradations  as  the  dis- 
tance increases. 

The  size  of  the  sky-light  and  placement  of  the  sub- 
ject has  much  to  do  with  the  effect  of  chiaroscuro.  A 
small  source  of  light  gives  contrast,  it  centralizes  the 
rays,  the  farther  away  from  the  light  the  deeper  the 
shades.  To  balance  these  tones,  use  stronger  reflected 
lights  in  photography;  while  from  a  large,  open  light 
the  rays  spread  over  a  larger  space,  illuminating  the 
shadows  more.  Here  the  reflector  is  also  often  neces- 
sary to  balance  with  its  pitch  of  light.   The  artist  in  his 


126  CHIAROSCURO. 

studio  uses  neither  reflector  nor  curtains  (which  some 
photographers  do  with  success),  his  tools  and  colors 
are  at  his  command  to  paint  as  he  chooses  in  a  high  key 
or  a  low,  so  he  preserves  the  values,  so  he  paints  the 
shadows  luminous,  containing  flesh-notes.  To  an  artist 
the  more  reflected  light,  the  poorer  the  work  of  art. 
Always  remember  that  a  soft  subdued  light  conceals 
what  a  harsh  and  brilliant  light  brings  out. 

The  photographer  has  to  do  only  with  mono- 
chrome, if  his  subject  was  taken  just  as  nature  would 
have  given  it  in  the  studio  without  screens  or  reflectors 
used,  the  efl^ect  would  often  be  harsh  and  hard,  often 
lacking  flesh-notes,  but  additionally  so  by  the  common 
plate  not  taking  nature  in  its  true  actinic  value,  ex- 
plained in  another  chapter.  Hence  the  necessity  of 
beautiful  modeling  under  the  sky-light  by  the  use: 
first,  of  a  good  source  of  light  to  produce  roundness 
with  character  expressed  to  best  advantage ;  second,  by 
very  judicious  use  of  screens  and  reflectors  if  used,  illu- 
minating with  due  regard  to  the  warm  or  cold  color 
tones  of  the  diflferent  subjects.  Poor  modeling  has 
often  come  from  a  lack  of  knowledge  as  to  the  effect 
in  tone  values  that  the  warm  and  cold  tones  have  in 
monochrome  on  the  sensitive  film. 

Illuminate  always  for  flesh-notes,  illuminate  that  the 
flesh  color  is  visible.  Bring  the  reflector,  if  used,  nearer 
to  the  front  of  the  subject  to  roinid  the  lights  into  the 
shades,  allowing  the  latter  to  grow  deeper  and  deeper, 
thereby  preserving  roundness,  depth  or  perspective. 
Light  also  so  that  the  color  of  the  flesh  is  seen  in  the 
high-lights  and  not  swallowed  up  by  the  light,  such 
produces  chalky  lights  without  delicate  modeling.   It  is 


CHIAROSCURO.  127 

much  easier  to  model  olive  complexions ;  next  the  bru- 
nettes ;  the  hardest  being  the  pale  or  perfect  blonds,  es- 
peceially  if  the  complexion  has  not  a  tendency  to  warm 
tones.  More  of  an  effect  to  produce  half-tones  will  be 
necessary,  either  by  use  of  more  concentrated  light  or 
by  use  of  a  screen  placed  judiciously  between  the  sub- 
ject and  the  light,  otherwise  the  picture  image  will  be 
fiat,  lacking  perfect  chiaroscuro;  more  so  by  the  effect 
of  colors  in  the  sensitive  film.  This  is  one  of  the  great 
reasons  why  so  many  negatives  are  flat,  having  some- 
thing of  the  appearance  of  over-timing. 

Iluminate  so  that  good  light  and  shade  is  produced 
with  good  timing,  rather  over  than  under,  with  judi- 
cious developing  and  the  picture  will  be  placed  in  at- 
mosphere, instead  of  standing  out  of  it.  The  inexperi- 
enced, or  the  student,  sees  objects  independent  of  at- 
mosphere. 

They  see  not  the  subject  surrounded  by  this  subtle, 
intangible  element  which  modifies  the  tones  of  natural 
objects.  Master  the  laws  of  light  and  shade,  a  proper 
treatment  is  of  the  greatest  importance.  Any  light, 
so  it  is  beautiful,  effective  and  destroys  neither  charac- 
ter nor  roundness,  harmonizing  with  the  subject,  is 
desirable.  If  the  picture  has  nothing  else,  let  it  have 
"chiaroscuro."  A  picture,  however,  cannot  be  an  ar- 
tistic production  from  proper  lighting  alone,  it  must 
have  composition  and  expression.  A  picture  with  good 
composition  and  expression  in  spite  of  improper  illu- 
mination can  yet  be  an  artistic  production.  Go  a  little 
farther  and  say,  if  the  picture  contain  nothing  else,  let 
it  contain  good  composition  and  expression.  The  con- 
clusion, how  much  grander  and  artistic  if  it  contain  all 


128  CHIAROSCURO. 

three  of  the  good  quahties,  Hghting,  composition  and 
expression. 

Harmony  is  the  key-note  to  artistic  productions.  It 
is  the  art  of  uniting  extremes  of  Hght  and  shade  or  in 
art  of  uniting  also  extremes  of  cold  and  warm  tones  by 
the  use  of  intermediate  tones,  that  takes  away  the 
harshness  of  effect,  binding  all  into  one  harmonious 
whole.  The  artist  must  know  the  result  of  varied  ef- 
fects of  light  and  shade  to  produce  harmony  or  con- 
trast alone  or  by  their  combinations.  The  "unit  of 
value"  is  light.  The  importance  of  any  tone  in  mono- 
chrome is  its  relative  value  to  its  highest  light.  Some 
subjects  admit  of  more  contrast  than  others.  Contrast 
denotes  strength.  It  is  better  to  light  a  man's  face  with 
more  contrast  than  a  lady's,  he  standing  for  power  or 
strength.  A  great  deal  of  taste  should  be  displayed  as 
to  the  use  of  a  milder  harmony  or  a  contrasted  har- 
mony, according  to  the  subject  at  hand,  much  de- 
pending on  the  character  and  contour  or  theme  of  the 
composition.  Israel's  picture,  "Alone  in  the  World," 
was  painted  with  low  somber  tones  and  colors,  admit- 
ting of  only  a  little  light,  expressed  great  harmony,  har- 
monizing perfectly  with  the  theme  of  the  picture. 
This  harmony  of  low  tones  aided  to  give  the  desired 
feeling  of  the  whole  composition.  Should  he  have 
painted  it  with  much  light  in  a  higher  key,  the  result 
would  not  have  been  so  grandly  produced.  Rembrandt 
observed  this  method  in  his  works,  he  admitted  more 
contrast  in  some  subjects  than  others. 

A  landscape  by  Whistler  is  one  of  the  finest  ex- 
amples of  harmony  in  art.  His  values  can  not  be  dis- 
tinguished with  any  certainty,  the  one  in  relation  to  the 


CHIAROSCURO.  129 

other.  Yet  it  recedes  in  perspective  with  almost  im- 
perceptible gradations,  so  delicately  they  are  hardly 
seen,  rather  felt  than  seen.  In  the  finest  modeling  the 
half-lights  and  half-shadows  are  imperceptible  and 
should  be  confused  and  blended,  the  extremities  can 
hardly  be  determined. 

In  a  milder  harmony  admit  of  enough  light-force 
not  to  produce  monotony,  requires  very  great  skill. 
Titian,  the  greatest  colorist,  showed  great  skill  in 
chiaroscusro,  this  with  his  color  gave  his  work  beauty. 
Rembrandt  proved  that  with  an  accent  of  light  or  an 
effect  of  light  and  shade  that  it  may  be  very  expressive 
and  adds  deep  feeling.  In  another  he  enveloped  the  sub- 
ject with  a  subtle  "mellowness"  of  light  and  shade  that 
added  sentiment.  When  an  extraordinary  effect  of 
light  and  shade  or  harmony  is  found  either  in  nature 
or  in  a  picture,  take  note  of  it.  In  conclusion,  an  ar- 
tistic lighting  is  one  that  will  best  express  the  purpose 
of  the  picture,  either  its  idea  or  its  sentiment.  Don't 
be  led  to  think  that  art  in  photography  is  all  dependent 
upon  lighting;  if  the  photographer  but  knew  what  ac- 
tion and  expression  in  a  picture  means,  his  lighting 
would  be  used  as  an  assistance  instead  of  "worrying 
over  some  system  of  lighting."  There  have  been  very 
pretty  effects  of  chiaroscuro  produced,  even  by  ama- 
teur photographers,  who  know  nothing  of  any  system 
of  lighting,  having  used  taste.  Better  be  said  to  have 
taste.  Study  light  and  shade  and  its  influence  and 
effect.  Get  all  the  ideas  possible  from  others,  experi- 
ence, study  pictures  produced  by  the  masters ;  then 
bring  out  the  hidden  individuality  of  oneself  and  use  it. 
Be  original. 


130  CHIAROSCURO. 

The  value  of  one  tone  to  another  plays  a  big  part 
in  artistic  work.  Mr.  Ruskin  says  that  the  deep  blue 
sky  at  noon  is  whiter  than  the  whitest  paper  made. 
Hold  up  the  whitest  substance  and  see  how  dark  it  will 
be  in  comparison  as  to  tone-values.  Water  is  darker 
than  the  sky  except  when  a  storm  arises.  Compare  the 
white  of  the  whitest  drapery  and  note  the  flesh-tones 
in  another  key,  strive  for  a  refinement  of  gradations, 
none  as  white  as  the  white  of  the  highest  light  and 
none  as  dark  as  the  dark  of  the  deepest  shadow  of  the 
black.  In  lighting,  to  obtain  true  values  between  a 
black  dress  and  a  white  face  and  shoulders,  give  the 
drapery  full  light  and  tone  down  the  flesh,  thereby 
avoiding  contrast.  One  of  the  first  lessons  to  learn  is 
to  compare  tones,  know  their  relative  values.  Strive 
for  breadth  of  handling  with  great  delicacy  of  detail 
with  broad  treatment.  An  over-amount  of  detail  may 
be  subdued  at  the  retouching  desk,  if  the  desired  re- 
sult was  not  obtained  under  the  sky-light.  There  is 
grandeur  in  simplicity.  There  should,  however,  be  no 
broad,  flat  patches  of  light  and  shade,  but  delicate 
gradations  everywhere.     Nature  is  such,  study  her. 

A  good  source  of  light  for  general  use,  to  produce 
character  with  roundness,  for  a  beautiful  plain  light, 
is  light  coming  from  something  like  a  45°  angle  source 
of  light,  side  and  top  light  coming  from  the  front ;  for 
Rembrandt  lighting,  a  side  and  top  light  coming  from 
the  rear.  Very  pretty  effects  are  produced  by  placing 
the  subject  straight  across  from  the  light,  coming  from 
above  the  sitter,  either  broad  lighting  or  shadow  ef- 
fects with  striking  high-lights.  For  portraiture,  small 
sources  of  light,  such  as  windows,  give  beautiful  ef- 


CHIAROSCURO.  131 

fects,  closing  off  the  lower  part  of  the  illumination, 
using  some  white  material  to  reflect  light  into  the 
shadows  if  necessary.  In  using  this,  avoid  using  it 
strongly  at  the  rear,  as  it  produces  spottyness  in  the 
shadows,  destroying  the  beauty  and  simplicity  of  the 
shadows,  destroying  depth  and  perspective.  Use  the 
reflector  rather  to  the  front,  blending  the  lights  into 
the  shades,  avoiding  harshness  of  effect.  A  head 
screen  may  be  used  to  subdue  some  strong  light  on  the 
top  of  the  head  or  the  like. 

A  light  coming  from  any  source  may  be  effective 
and  beautiful  so  it  harmonizes  and  places  the  subject 
to  best  advantage.  Beautiful  results  have  been  at- 
tained by  all  side  light,  or  all  top  light ;  light  coming 
from  the  rear  and  above ;  from  the  front  and  above  or 
a  45°  angle,  or  more  or  less,  just  so  the  lights  and 
shades  are  not  spotty,  but  held  in  broad  masses, — pulled 
together.  Almost  anything  beautiful  can  be  gotten  by 
a  good,  plain  light.  Rembrandt  painted  many  pictures 
from  a  little  window  above  the  sitter. 

Light  is  that  by  which  we  are  enabled  to  see.  Light 
as  it  falls  on  a  surface,  is  divided  into  two  portions ; 
one  absorbs,  the  other  reflects.  A  polished  surface 
reflects  like  a  mirror  and  upon  it  are  patches  of  high- 
lights as  bright  as  a  sheet  of  white  paper.  For  the 
same  reason  such  brilliant  lights  as  those  on  the  nose 
or  different  parts  of  the  face  exist,  because  of  the 
oilyness  of  the  skin,  reflecting  more  light,  making  the 
lights  appear  metallic,  absorbing  all  soft  flesh-like 
effects.  When  a  substance  reflects  all  the  colors  to  the 
eye,  it  seems  to  us  white,  being  a  combination  of  all  the 
colors.    When  it  absorbs  all  the  colors,  it  is  black,  being 


132  CHIAROSCURO. 

the  absence  of  all  the  colors.  White  reflects  light,  black 
absorbs  light,  black  reflects  black,  same  as  any  color 
reflects  its  own  color  on  an  adjoining  tone,  therefore 
often  broken  tones  are  a  result.  Why  is  an  apple  red? 
When  a  body  absorbs  all  the  colors  of  the  spectrum 
but  red,  but  reflects  that  to  the  eye,  that  object  is  called 
red ;  when  it  absorbs  all  but  blue,  it  is  called  blue ;  when 
it  absorbs  all  but  green,  it  is  green. 

Light  passing  thru  a  lens,  the  violet  or  ultra-violet 
rays  are  brot  to  a  focus  nearer  than  that  of  the  red 
rays,  the  wave  lengths  of  the  cool  tones  or  actinic 
rays  differing  with  those  of  the  warm  tones  or  non- 
actinic.  Hence  the  importance  of  knowing  something 
about  colors,  their  relative  values  and  effects  to  do 
beautiful  modeling  with  light  and  shade,  with  reference 
to  the  lens  and  plates  used. 

"Beauty  breaks  in  everywhere." 


The  First  Book. 


COMPOSITION.  133 

CHAPTER  XXXII. 

COMPOSITION. 

piCTORIAL  composition  is  a  filling-in  of  a  flat 
space.  It  begins  with  the  outside  hnes,  or  the 
four  boundary  Hnes  or  oval  of  the  picture  plane.  From 
these  the  mind  must  be  led  inward  to  its  central  point 
and  keep  it  there.  A  composition  is  a  combining  of 
several  things  into  one  perfect  whole.  There  must  be 
exercise  of  judgment,  as  to  proportion,  lines,  har- 
monious masses  of  light  and  shade  and  color.  A  pic- 
ture may  have  an  idea ;  but  that  idea,  if  expressed  by 
proper  proportions,  lines,  light  and  shade  masses,  har- 
monious tone-values, — these  are  the  means  by  which 
the  idea  is  made  more  complete. 

A  poem  is  based  on  the  same  principles,  it  is  made 
up  of  words  in  rhyme  and  metre,  these  helping  to 
convey  the  idea.  The  more  harmoniously  these  dif- 
ferent qualities  are  arranged  in  the  picture  or  the 
poem,  with  its  idea  or  theme,  the  more  of  worth  the 
production  becomes. 

In  a  play,  a  novel  or  a  poem,  each  are  built  upon  one 
figure,  the  central  figure,  the  hero  or  heroine.  All 
the  other  characters,  scenes  or  what-not  are  simply 
accessories  to  fill  in,  a  surrounding  the  central  figure, 
all  being  inferior,  to  add  strength  and  gorgeousness  to 
the  central  figure.  Examine  the  Merchant  of  Venice, 
Julius  Caeesar  or  Ben  Hurr  and  in  any  one  there  will  be 
seen  a  concentration,  a  centralizing,  the  mind  being 
drawn  to  the  central  figure,  the  rest  of  the  characters 


134  COMPOSITION. 

being  of  minor  importance.  In  a  pictorial  composition 
the  leading  figure  must  be  centralized  in  position,  with 
a  concentration  of  light  force,  in  a  painting  central  in 
color  effects  also.  Art  requires  this  whether  it  existed 
so  in  nature  or  not.  In  a  sunset  scene  the  sun  or  its 
strongest  light  must  be  nearly  in  the  center  to  attract 
greatest  attention,  from  there  the  light  radiates  into 
lower  tones  toward  the  outer  boundaries  of  the  picture 
plane. 

How  differently  the  photographic  group.  Most  of 
the  individuals  are  looking  out,  straight  at  the  lens, 
a  few  are  looking  to  one  side  perhaps.  There  is  no 
central  interest,  each  figure  is  of  the  same  importance, 
all  are  conscious  of  the  event, — when  the  picture  is 
taken.  There  is  no  pictorial  composition,  no  relation 
of  one  individual  to  another,  no  oneness  of  effect,  sim- 
ply a  number  of  individual  photographs  taken  on  one 
plate.  Time  is  at  hand  and  it  will  be  more  universal 
when  groups  of  families  and  others  will  be  taken  with 
some  meaning  attached  to  the  picture.  A  family  pic- 
ture will  represent  some  fire-side  scene  or  parlor 
scene,  something  that  represents  home  or  home-life  in 
some  form.  How  beautifully  and  naturally  a  group  of 
children  could  be  arranged  with  some  central  idea. 
Such  work  as  this  has  made  itself  possible,  especially 
since  the  appearance  of  good  flash-light  machines. 

When  a  large  group  is  taken,  it  is  usually  a 
group  of  an  organization  of  some  kind ;  with  a  little 
forethought,  a  scene  could  be  arranged  having  some- 
thing in  touch  with  the  group.  Let  the  central  head 
of  such  be  placed  central,  others  being  in  attitude  of 
conversation   or  whatever  of  action  it  is  possible  to 


COMPOSITION.  135 

express,  giving  a  variety  of  pose  and  at  the  same 
time  a  oneness  of  idea,  all  centralizing  in  idea  to- 
ward the  central  figure  or  figures.  The  effect  of  a  per- 
fect outlined  pyramid  or  half-circle,  so  often  used,  may 
better  have  a  wave  effect,  central  or  near  central  figures 
placed  some  higher.  This  adds  interest  and  destroys 
the  too  conventional  style  of  the  other. 

A  pyramid  suggests  repose,  symmetry ;  it  also 
carries  with  it  the  idea  of  solitude.  In  a  family  group 
avoid  placing  the  head  of  the  family  in  the  very 
center.  Have  the  leading  memmbers  somewhere  near 
the  center,  which  adds  interest  and  variety.  As  to  the 
posing  of  the  different  members,  give  dignity  to  the 
father,  by  dignity  is  not  meant  stiffness.  Give  to  each 
something  characteristic,  easy  and  simple,  coinciding 
with  the  idea  of  the  composition.  If  the  picture  is 
made  at  the  home,  in  the  parlor,  it  is  not  so  difficult  to 
obtain  something  beautiful  and  natural  with  the  home 
accessories.  People  feel  more  natural  in  their  own 
surroundings.'  In  studying  pictures  by  masters  of  art, 
the  leading  figure  is  the  center  of  interest,  no  matter 
where  this  leading  interest  is,  whether  it  be  high  up  in 
the  picture  to  form  a  pyramid,  or  whether  lower  down. 
The  key-note  of  any  picture  should  be  the  center  of  in- 
terest. 

To  be  successful  in  a  composition,  it  is  necessary  to 
plan  the  picture  beforehand.  A  very  good  method  is 
to  make  dates  with  the  subjects  and  then  plan  in  the 
meantime,  especially  if  anything  extraordinary.  The 
great  painters  all  planned  their  pictures.  They  first 
made  a  variety  of  sketches,  then  a  finished  drawing  of 
what  they  liked  best,   taking   from  the  varied  com- 


136  COMPOSITION. 

positions  that  which  expressed  most  clearly  their  con- 
ception. Then  they  obtained  a  more  correct  drawing 
and  finished  it  from  nature.  By  this  planning,  arrang- 
ing and  re-arranging  as  to  figures  and  their  relation, 
lines,  masses  of  light  and  shade  and  color,  they  accom- 
plished as  with  a  mighty  hand  and  a  mighty  mind. 
Some  of  the  masters  succeeded  most  in  half-fancy  and 
half-portrait,  keeping  individual  peculiarities. 

Study  lines,  look  for  them  in  any  good  picture, 
study  their  meaning.  One  of  the  greatest  sources  of 
beauty  and  interest  is  variety,  variety  of  line,  lights  and 
shades,  composition.  Repetition  and  uniformity  pro- 
duce monotony,  losing  beauty  and  interest. 

Elegance  is  displayed  all  thru  nature,  whether  in  the 
human  figure  or  nature  itself.  It  is  filled  with  natural 
effects,  "unstudied  ease,"  which  adds  the  greatest 
beauty  and  grace  to  a  composition.  Nature,  when  left 
to  its  naturalness,  is  harmonious,  the  different  parts 
being  in  harmony  with  each  other.  These  cannot  be 
looked-for  enough.  In  giving  expression  to  a  certain 
feeling,  notice  how  the  body  falls  in  lines  and  com- 
position harmoniously  to  that  feeling.  Certain  lines 
are  suited  to  every  subject  and  to  its  thot.  Certain 
lights  and  shades  also  express  the  sentiment  or  effect 
of  the  picture. 

Some  objects  appeal  to  us  more  than  others,  from 
the  fact  that  the  lines  are  more  pleasing.  A  cer- 
tain light  and  shade  may  be  used  and  represent  one 
phase  of  thot,  another  light  and  shade  used  and  a 
different  aspect  represented  altogether,  from  this  alone. 
Lines  have  also  a  great  significance.  The  influence  of 
the  grandeur  of  lines  and  light  and  shade  is  wonder- 


COMPOSITION.  137 

ful.  Lines  have  their  meanings  and  either  add  to  or 
take  from  a  picture.  A  picture,  inasmuch  as  it  has  the 
power  to  please  or  to  hold  the  imagination,  is  its  suc- 
cess. Some  lines  create  more  pleasure  and  imagina- 
tion than  others.  There  is  no  line  as  beautiful  and  full 
of  interest  as  the  curve  or  continuation  of  curves,  caus- 
ing a  variety  in  unity.  Why  are  the  waves  of  the  sea  so 
fascinating?  Because  of  their  continuation  of  curves, 
producing  variety  and  yet  unity. 

Straight  lines  across  a  picture  should  be  avoided. 
Such  a  condition  should  be  broken  in  some  way.  Such 
lines  give  the  feeling  of  sorrow.  These  same  hori- 
zontal lines  also  express  repose  or  reclining.  Arms 
can  be  posed  and  if  perfectly  relaxed,  give  in  the  lines 
and  atmosphere  itself,  a  feeling  of  perfect  repose,  un- 
mistakably felt  without  seeking  for  it.  Perpendicular 
lines  give  the  influence  of  stability  and  support.  The 
soldier  is  a  good  example,  he  who  has  vowed  to  protect 
and  support  the  nation  in  trouble;  his  erect  figure,  his 
attitude  harmonizing  with  the  act.  The  curved  line  is 
the  most  beautiful,  giving  more  beauty;  straight  lines 
or  angles  giving  strength. 

Lines  giving  beauty  and  strength  make  a  grand 
composition,  also  combine  with  it  a  lofty  idea  and  the 
result  is  grand.  If  all  lines  in  a  picture  are  curved,  it 
becomes  weak  and  insipid.  Repetition  produces  mo- 
notony and  becomes  uninteresting.  Angles  or  straight 
lines  can  cither  make  or  mar  the  picture.  They  can 
be  used,  however,  with  strong  and  beautiful  iifects, 
for  there  is  beauty  in  angles  and  they  are  expressive  of 
meaning.  Angles,  however,  are  hard  to  handle.  In 
a  decided  character  the  figure  is  molded  with  inclina- 


138  COMPOSITION. 

tion  to  angles,  no  sharp  angles,  however,  existing. 
Right  angles  are  the  hardest  to  handle  and  least  beauty 
is  expressed.  Curved  lines  bind  together;  angles  have 
a  separating  effect.  Curved  lines  give  grace  and  ele- 
gance, while  straight  lines  possess  perfect  fullness  of 
expression.  Notice  the  full  blown  rose,  the  rounded 
curves  of  each  petal,  how  the  perpendicular  stem  gives 
it  support,  adding  strength  to  its  make-up,  the  straight 
line  of  the  stamen  adding  additional  beauty.  How  the 
leaves  of  any  tree  or  plant  in  the  vegetable  kingdom  is 
graced  with  beautiful  curves  and  balanced  with  straight 
lines ;  strong  veins  give  beauty  in  their  straightness ; 
the  angles  they  produce  by  the  joining  of  one  to  the 
other  also  adds  to  the  make-up  of  beauty.  Angles,  too, 
represent  action,  a  person  running  is  a  good  example ; 
more  action  being  displayed  when  acute  angles  are 
used,  less  when  obtuse,  the  latter  representing  more  of 
the  idea  of  stability  or  support,  the  figure  being  then 
more  erect. 

Light  and  shade  bind  together  lines  and  assist  in 
effecting  a  continuation  of  lines.  Accessories  are  neces- 
sary in  connecting  objects  and  lights  and  shades;  they 
have  no  meaning  there  unless  they  fill  a  space  or  tell  a 
story.  Let  accessories  be  few,  only  what  is  needed  to 
help  the  composition.  No  accessory  should  be  so  prom- 
inent as  to  detract  from  the  face  or  figure.  Avoid 
mottled,  spotty  back-grounds,  for  single  figures  or 
simple  compositions,  use  rather  simple  back-grounds 
with  gradations  of  tone-values  perhaps,  if  used  prop- 
erly. 

Simplicity  is  of  greatest  importance.  It  is  easy 
enough  to  be  elaborate,  but  to  know  how  to  produce 


COMPOSITION.  139 

beautiful  simplicity  is  the  most  difficult.  Drapery  laid 
in  broad,  simple  folds  is  picturesque  and  gives  a 
grander  result  if  laid  in  tasteful  or  artistic  lines  with 
due  regard  to  light  and  shade  and  composition.  Sim- 
plicity of  composition  is  very  necessary  in  photography 
because  of  the  liability  of  distortion.  The  figure  or 
figures  must  be  posed,  so  they  are  as  near  as  possible 
parallel  to  the  lens.  The  greatest  difficulty  resulting 
distortion  is,  the  focal  length  of  the  lens  is  not  great 
enough  for  the  plate  usually  used.  A  quarter-plate 
cannot  be  cut  with  a  five-inch  lens ;  the  lens  is  strained, 
doing  more  than  it  can  properly  do.  The  result  is 
better  if  not  strained  to  its  fullest  capacity.  To  produce 
pictorial  efifects,  the  artist  must  use  a  lens  that  gives 
true  perspective  and  not  a  perspective  that  doubles  dis- 
tance and  destroys  proportions. 

The  arrangement  of  a  figure  is  the  pose.  There  can 
be  no  rules  laid  down  to  be  always  used,  such  an  at- 
tempt would  be  absurd.  Art  is  not  governed  by  rules. 
There  are  certain  principles  to  be  observed,  different 
lines,  angles  and  the  like  have  their  meaning ;  light  and 
shade  and  expression  also.  Feeling,  high  feeling,  good 
taste  displayed  is  the  highest  art.  Use  imagination ; 
stir  up  the  imagination.  Create  ideas,  be  different,  be 
original. 

It  is  a  most  difficult  subject  to  write  on;  that  to 
know  how  to  pose  any  individual,  that  individual  must 
be  studied  as  to  his  peculiarities,  his  character,  expres- 
sion, contour  or  face  and  figure;  there  being  such 
variety  of  characters,  features  and  figures. 

Much  easier  to  give  pose  to  a  man  than  to  a  woman. 
The  element  of  dignity  and  strength  brings  out  more 


140  COMPOSITION. 

the  true  character  of  the  man,  while  in  woman  the 
element  of  beauty  is  most  desirable.  Beauty  of  face, 
expression,  grace  of  pose,  are  desired  by  those  even 
not  possessing  much  of  the  above  qualities.  Hard  to 
represent  dignity,  strength  or  force  of  character  where 
there  is  none;  express,  however,  what  character  or  pe- 
culiarity there  may  exist.  For  portraiture,  personality 
is  one  of  the  all  desired  elements.  The  face  is  the  center 
of  expression  and  character,  the  action  of  the  figure 
shows  also  much  character  or  personality,  or  the  true 
aspect  of  the  person.  There  should  be  concentration 
of  expression,  light  and  also  detail.  The  eye  focuses 
on  only  one  thing  at  a  time,  the  rest  being  less  distinct, 
which  causes  a  centralization  of  interest.  There  is 
something  out  of  keeping  if  the  eye  travels  and  fails 
to  return  to  its  interest.  All  other  things,  such  as 
dress,  accessories  and  the  like,  should  be  simplified  in 
line,  mass  and  light  and  shade  to  enhance  the  center, 
the  face.  All  drapery  should  be  to  add,  to  enhance  the 
figure,  not  the  reverse.  Only  as  much  detail  should  be 
used  that  will  keep  the  harmony,  no  throwing  out  of 
focus  necessary,  more  a  dififusion  instead.  One  great 
strengthener  is  simplicity  in  the  shadow  and  detail  in 
the  light ;  when  and  where  to  concentrate  and  subordi- 
nate to  produce  this  simplicity.  Too  much  reflection 
destroys  luminosity  of  light  and  also  destroys  sim- 
plicity if  not  well  done. 

In  three-quarter  or  full  length  poses  of  men,  it  is 
quite  difficult  to  secure  naturalness  and  yet  not  mo- 
notony. More  difficulty  arises  from  the  fact  of  man's 
costume  containing  more  straight  lines,  which,  how- 
ever,   adds   strength   to   appearance,   he   representing 


Backward  Thots. 


COMPOSITION.  141 

such.  Above  all,  avoid  using  stereotyped  poses  in  any 
posing-.  Secure  in  man  strength  and  naturalness,  re- 
membering that  stereotyped  poses  are  not  always  char- 
acteristic poses.  Greatest  care  shoiild  be  used  in  the 
tilt  or  poise  of  the  head  and  in  the  posing  of  the 
hands.  Happy  can  be  the  person  who  has  mastered  the 
pose  of  hands.  There  is  as  much  character  in  the  hand 
as  the  head.  There  is  as  much  need  of  the  study  of 
hands  as  the  head,  as  they  are  expressive  of  character. 
A  true  artist  pays  a?  much  attention  to  the  posing  of 
hands  and  arms  as  the  face.  First,  as  to  lighting,  they 
should  always  be  subdued  as  much  as  possible  unless 
well  posed,  or  some  characteristic  pose  is  used.  At 
any  rate  keep  the  lights  a  little  lower  in  key  than  the 
lights  of  the  face,  keeping  the  centralization  of  the 
light-force  on  or  near  the  attractive  part  of  the  compo- 
sition, the  face.  Hands  should  not  be  too  much  in 
shadow ;  it  makes  them  look  too  dark,  losing  the  effect 
of  luminosity  or  flesh-notes.  According  to  the  pose, 
the  necessary  reflector  used  for  the  face,  cannot  fulfill 
its  mission,  consequence  the  hands  often  are  too  dark, 
flesh-notes  at  least  should  be  attained.  In  the  pose  of 
hands,  it  is  often  better  that  they  be  occupied  with 
something,  often  adds  grace.  For  a  beautiful  pose,  give 
the  hands  a  perfectly  relaxed  feeling,  also  more  grace 
being  attained  thereby.  Avoid  affectation  or  a  strained 
pose.  In  dark  drapery,  three-quarter  length  sitting  or 
standing,  the  illumination  of  the  hands  adds  a  sec- 
ondary light  to  the  picture,  making  a  true  balance  and 
adds  interest.  The  picture  becomes  at  once  a  true 
portrait,  not  a  mere  photograph.  It  is  one  of  the  prin- 
ciples that  all  good  artists  use,  light  masses  or  color 


142  COMPOSITION. 

masses.  A  stronger  light  and  color  existing  where  at- 
traction is  meant  to  be  desired,  then  in  other  parts  of 
the  composition  secondary  lights  and  colors  are  added 
to  give  a  true  balance,  pulling  it  together,  creating  sim- 
plicity, harmony;  it  keeps  the  center  from  being  as  a 
spot  standing  out  in  the  picture.  For  example,  Titians' 
best  picture,  "Bacchus  and  Ariadne,"  a  representation 
of  landscape  with  two  figures.  The  foreground  con- 
sisting of  warm  tones,  the  sky  and  back-ground  of  cool 
tones.  Now  to  obtain  a  balance  and  harmony  of  colors, 
he  put  into  the  sky  some  warm  tones  and  also  by  plac- 
ing a  red  scarf  on  the  shoulders  of  Ariadne,  who  was  in 
silhoutte  against  the  sky ;  he  then  brot  down  some  of 
the  cold  tints  into  the  foreground  by  the  blue  mantle 
on  the  shoulders  of  the  nymph  in  the  lower  part  of 
the  picture.  He  preserved  breadth,  simplicity,  har- 
mony and  union  thereby. 

This  principle  applies  to  light  and  shade  also.  There 
should  be  a  relation  of  larger  masses,  have  the  strongest 
accent  and  pull  all  other  values  together  delicately.  If 
a  strict  observance  to  these  laws  is  kept,  it  will  be  ob- 
served what  a  different  aspect  the  picture  produces, 
how  much  more  character,  beauty  and  strength  it  be- 
stows. The  masses  of  light  and  shade  have  much  to 
do  with  the  composition,  also  if  the  light  part  of  the 
picture  is  relieved  with  a  dark  ground,  or  the  dark  with 
a  light ;  it  has  its  effect  in  the  composition. 

To  secure  true  characteristic  poses  watch  the  indi- 
vidual in  his  movements  about  the  room,  look  for  little 
fleeting  bits  of  attitude  or  expression ;  it  may  be  in  the 
hands,  poise  of  the  head,  attitude  of  the  figure ;  it  may 
not  be  any  more  than  the  position  of  a  finger ;  be  on  the 


COMPOSITION.  143 

alert,  keep  eyes  wide  open,  filled  with  eagerness  to 
grasp  the  fleeting  beauties  of  nature.  Herein  lies  much 
of  the  success  of  good  posing.  In  women  there  is  more 
natural  grace  of  figure  than  in  men ;  their  drapery  also 
gives  more  pleasing  lines  than  is  possible  with  the 
dress  of  men.  The  folds  causing  graceful  lines,  con- 
tinuing in  curves  the  lines  of  the  figure. 

Posing  is  mastered  thru  study,  observation  and 
thru  a  knowledge  of  what  others  have  done.  It  is 
a  life  study.  One  of  the  hardest  things  to  obtain  is  un- 
consciousness in  some  people.  It  often  must  be  fought 
for,  worked  for.  Consciousness  and  awkwardness  are 
companions,  unconsciousness  and  ease  and  dignity  go 
together,  often  grace  accompanies  it.  To  obtain  un- 
consciousness, draw  the  mind  from  the  present  sur- 
roundings. Get  the  general  action  or  pose  of  the  figure, 
then  use  lines  of  drapery  and  accessories  as  secondary 
elements.  Beauty  of  face  and  expression,  beauty  of 
graceful  figure  are  of  infinite  value  in  portraiture  of 
women.  Alore  action  is  required  in  the  portraiture  of 
the  young,  more  of  dignity  and  repose  in  the  aged. 
Youth  carries  the  chin  higher,  gives  more  action,  age 
lowers  it.  A  standing  pose  is  not  suitable  for  the  aged, 
rather  seated  in  a  comfortable  chair  that  falls  in  good 
lines  with  the  subject.  Seldom  place  a  figure  squarely 
before  the  camera,  it  loses  action,  action  being  better 
represented  in  the  three-quarter  or  profile  figure.  Stout 
people  or  tall,  slender  people,  better  be  seated,  and  also 
usually,  short  people.  A  leaning  forward  gives  thought- 
fulness  in  expression,  especially  to  the  older.  Stout 
little  figures  should  lean  forward,  giving  more  slender 
appearance  thru  perspective,  otherwise  will  be  large 
or  larger. 


144  COMPOSITION. 

Avoid  in  these  figures  light  back-grounds,  using 
such  a  ground  that  here  and  there  the  figure  is  lost  or 
partially  so.  Having  the  subject  rest  on  one  foot, 
gives  action.  Letting  the  body  lean  slightly  forward, 
creates  action.  Avoid  having  the  camera  too  low,  it 
elongates  a  tall,  slender  person  to  exaggeration.  If  in 
a  woman's  dress  it  fails  to  reach  the  floor,  take  a  three- 
quarter  length  or  sitting  position. 

To  pose  a  child  is  almost  to  fail.  Little  suggestions 
may  sometimes  be  made  and  with  success.  The  head, 
body,  hands,  feet,  the  whole  little  being  acts  in  perfect 
harmony  and  unison  in  what  it  is  interested.  Noth- 
ing is  more  charming  in  photography  than  to  have  the 
privilege  of  working  with  these  little  creatures,  from 
two  years  to  six  or  seven ;  they  are  of  exceeding  in- 
terest, because  of  their  charm  of  expression,  animation 
and  illumination  of  face  and  unconsciousness.  Have 
plenty  of  patience,  be  full  of  fun,  make  them  feel  at 
home,  then  be  ready  to  grasp  anything  that  may  present 
itself  that  is  beautiful  and  natural. 

In  photography,  the  bust  picture  is  mostly  in  de- 
mand, because,  first,  perhaps,  of  the  size  of  the  head, 
for  the  price  of  the  prints,  and,  second,  perahps  pho- 
tography can  best  handle  only  the  head.  It  requires 
great  skill,  however,  in  the  pose  of  the  head  alone.  The 
lines  of  the  body  must  harmonize  and  be  balanced  with 
the  contour  of  the  head.  Expression  having  something 
to  do  with  the  pose  of  the  head  and  body.  Observe 
first  of  all  what  gives  the  best  contour  of  the  head,  with 
reference  to  the  ears,  hair  or  general  shape.  Having 
the  contour  arranged  to  the  best  advantage,  the  fea- 
tures  usually  are  placed  to  better   advantage.     The 


COMPOSITION.  145 

camera  should  usually  be  placed  on  a  level  with  the 
mouth  or  chin,  as  this  gives  a  more  correct  drawing 
and  also  a  more  exalted  appearance  in  the  picture. 
Avoid  looking  down  on  the  subject  with  the  camera, 
gives  the  effect  of  lowliness.  In  posing  a  man  of  re- 
sponsibility, an  officer,  or  a  commander,  how  mistaken 
to  place  a  camera  high.  Give  him  a  commanding  ap- 
pearance. A  short  "turned-up"  nose,  pose  the  head 
lowered,  places  it  to  a  better  advantage.  Raising  the 
head,  fore-shortens  it  the  more  and  will  be  more  of  a 
turned-up  effect  still.  Some  features  are  placed  to 
advantage  by  the  method  of  fore-shortening,  some  the 
opposite.  Not  that  the  lens  itself  makes  these  changes, 
but  it's  a  natural  law  of  nature. 

Long  noses,  the  fore-shortening  would  be  desirable, 
such  tilt  the  head  a  little  upward.  Long  chins,  lower 
the  head ;  short  chins,  raise.  Three-quarter  view  is 
usually  the  happiest  position ;  in  using  this,  see  if  the 
cheek-bone  gives  good  outline  in  the  shadow  side ;  if  too 
straight,  let  the  ear  or  part  of  the  ear  break  the  line. 
If  the  mouth  is  crooked,  drooping  more  on  one  side 
than  the  other,  place  the  subject  on  that  side  of  the 
room  so  that  the  drooped  side  will  be  on  the  side  farther 
away  from  the  camera,  according  to  the  law  of  per- 
spective ;  parallel  lines  converge  to  a  center.  By  plac- 
ing the  droop  nearest  the  camera,  the  crooked  appear- 
ance will  but  be  more  evident. 

Long  necks,  the  camera  should  be  placed  high, 
placing  it  low  only  elongates  the  already  undesirable ; 
fore-shorten  it.  Large  eyes  (if  too  large),  have  them 
lool<,out,  rather  a  little  down  than  up,  avoid  the  show- 
ing of  s^  much  of  the  whites  of  the  eyes.    It  gives  a 


146  COMPOSITION. 

pleasenter  appearance.  A  beautiful  effect  is  obtained 
if  they  are  in  half-shadow  rather  than  such  full  light. 
Deep-set  eyes  more  front  light,  illumination  is  of  the 
utmost  importance.  Large  ears,  standing  out  much, 
may  be  fastened  back  by  a  string  across  the  back  of  the 
head,  using  pins  bent  to  hook  in  the  ears,  avoid  full 
view.  A  bald  head  with  the  use  of  ochre,  charcoal, 
lamp  black  or  any  material  easily  removed,  used  ac- 
cording to  the  color  of  the  hair,  may  be  made  to  give 
the  appearance  of  hair.  It,  however,  could  be  rem- 
edied at  the  retouching  desk  by  etching.  Hollow 
cheeks,  use  more  side  light  coming  from  the  front. 
High  cheek  bones,  use  the  light  more  subdued,  thereby 
reducing  the  high-lights,  reducing  its  harshness  by 
more  mellow  half-tones. 

Double  chins,  raise  the  head,  but  if  the  nose  or  some 
feature  is  placed  to  a  disadvantage  by  such,  never  sac- 
rifice the  good  features,  leave  the  chin  to  be  etched 
down  by  the  retoucher.  Very  round  faces,  give  three- 
quarter  view  ;  long,  slender  faces  morejull^view.  If  the 
lower  part  of  the  face  is  very  heavy,  prominent  jaws, 
lower  the  head  a  little,  placing  the  lens  on  a  level  with 
the  eyes.  If  the  chin  is  pointed  and  slight,  raise  the 
head  a  little,  the  lens  on  a  level  with  the  mouth.  Good 
profiles  are  rare.  If  in  a  profile  all  the  features  are 
good  except  the  nose,  which,  perhaps,  has  a  sinking-in 
and  is  long  also,  to  give  a  beautiful  effect,  tilt  the  top 
of  the  head  toward  the  camera,  fore-shortens  it ;  away 
from  the  camera,  the  perspective  would  make  it  longer 
in  appearance.  A  drooping  mouth,  raise  the  camera  a 
little  or  lower  the  head,  raising  the  head  only  makes 
it  more  drooped.     Large  hands,  place  on  a  plane,  in- 


COMPOSITION.  147 

Stead  of  in  front  of  the  plane,  of  focusing.  Large 
feet,  handle  the  same.  Small  hands  and  feet  will  ap- 
pear larger  if  placed  in  front  of  the  plane.  Observe 
the  law  of  symmetry. 

A  great  many  of  these  changes  can  be  made  with 
due  regard  to  the  law  of  perspective  and  light  and 
shade.  In  all  this  there  must  be  a  lens  used  as  before 
said,  that  will  cut  properly  the  plate  used.  Don't  sac- 
rifice ease  for  an  idea  that  the  head  and  body  should 
not  be  posed  on  a  line  or  thalt  the  head  should 
not  be  turned  toward  the  light.  The  subject  at  hand 
is  the  only  being  that  suggests  the  pose  or  light  and 
shade ;  whatever  gives  most  beauty,  strength  and  char- 
acter, do !  A  good  effect  is  even  acquired  on  some, 
face  full  in  the  light,  great  care  should  be  taken  as  to 
the  modeling  of  half-tones,  especially  in  such  a  case. 

There  are  many  little  things  that  come  up  in  the 
posing  of  individuals  that  cannot  be  explained  or  brot 
out  in  writing,  being  a  subject  very  difficult  of  hand- 
ling in  this  manner.  It  is  a  life  study,  it  must  be  a  part 
of  one's  daily  life,  on  the  street,  in  the  city  or  country, 
at  work  or  at  leisure,  no  matter  where.  Hard  work, 
persistent  effort,  observation  and  reflection  with  imagi- 
nation will  bring  success. 

In  composition  look  for  form  and  contour  first  in 
the  pose,  lines ;  depth  of  perspective,  back-ground,  sil- 
houette; then  the  modeling;  then  expression. 

A  certain  degree  of  relief  is  necessary  to  detach  the 
subject  from  its  back-ground,  but  it  must  stand  in  at- 
mosphere, be  surrounded  by  it,  to  express  a  fullness. 
A  light  should  have  something  to  illuminate,  a  shadow 
something  to  relieve.    White  paper,  or  any  support  can- 


148  COMPOSITION. 

not  produce  an  effect  of  light  or  atmosphere.  Having 
it  darker  in  some  places  helps  to  make  it  luminous. 
First  duty  of  a  back-ground  is  to  go  back.  It  should 
be  luminous  and  atmospheric,  tho  it  be  either  dark  or 
light.  Make  anything  dead  black  and  it  at  once  loses 
transparency.  Titian,  the  master  of  color,  accom- 
plished a  very  difficult  picture,  a  figure  in  white  drapery 
against  a  light  luminous  back-ground,  no  contrast 
used  to  set  off  the  figure.  Few  have  been  successful 
in  such  an  undertaking,  difficulty  being  to  get  a  lumin- 
ous and  atmospheric  quality  to  the  light  back-ground 
and  make  the  figure  set  from  it  and  stand  in  atmos- 
phere; and  yet  how  many,  many  photographers 
attempt  this  very  thing  and  with  failure,  attempting 
light  drapery  and  well  illuminated  figures  against 
white  back-grounds,  over-developing  the  figure  and 
drapery  to  secure  a  white  back-ground.  Sacrificing 
the  modeling  of  the  figure,  blocking  up  the  lights,  los- 
ing transparency  and  a  luminous  quality  of  the  print 
in  the  figure  and  drapery  for  a  white  back-ground, 
for  a  white  meaningless  back-ground,  for  the  plain 
paper;  object  to  leave  the  paper  bare  of  what  nature 
possesses.  Paper  has  no  atmosphere,  no  feeling,  it  is 
what  is  put  on  the  paper  that  makes  the  picture,  not  the 
paper  itself. 

Look  at  nature  and  nowhere  will  atmosphere  or 
perspective  be  wanting.  Even  look  at  a  wide 
stretch  of  country  covered  with  snow  and  in  that  white- 
ness there  is  atmosphere,  gradations,  a  going  back.  In 
such  examples  as  the  above,  according  to  the  law  of 
art,  the  highest  light  on  any  back-ground  cannot  be 
as  light  as  the  highest  light  on  the  figure  or  drapery, 
if  it  is,  it  at  once  loses  atmosphere  and  perspective.    A 


The  Spirit  of  the  Sea. 


COMPOSITION.  149 

good  back-ground  ought  to  be  darker  than  the  lights 
in  the  figure,  and  Hghter  than  the  deepest  shadows,  the 
latter  according  to  the  drapery  and  back-ground  used. 
Do  not  make  papery-looking  pictures,  there  is  no  depth 
to  them ;  nothing  that  art  calls  good.  As  "there  are 
sermons  in  stones,"  there  is  a  deep  lesson  even  in  a 
tone. 

The  most  important  objects  are  placed  most  prom- 
inent in  light  and  composition,  all  other  things  being 
subordinated,  using  these  only  to  enhance  the  promi- 
nence of  the  objects  themselves  to  unite  and  produce 
a  fullness  of  effect.  The  same  may  be  said  of  beauty, 
all  other  things  are  subordinated  to  make  the  force  of 
beauty  be  felt. 

In  Michael  Angelo's  "Night  Watch"  the  pose  of 
the  figure  is  grand;  such  a  face  is  rarely  found  and  a 
magnificent  result  be  obtained  with  his  soft,  tender 
obscure  back-ground.  Study  nature,  revere  her.  Best 
results  only  come  from  truest  sympathy  with  her.  But 
selection  is  necessary  for  nature  is  infinite,  then  photo- 
graph well. 

Some  good  qualities  to  observe :  Reduce  the  back- 
ground, set  it  back.  Subordinate  the  landscape  if  fig- 
ures are  the  leading  features  of  interest.  Possess  the 
power  of  obtaining  expression,  with  the  power  of  pleas- 
ing the  senses.  Concentrate  force  light,  with  proper 
distribution  of  light ;  composition  of  lines,  with  due 
regard  to  meaning.  Let  the  picture  possess  a  dark 
accent,  gives  life  and  a  value  of  added  interest.  Con- 
vey the  impression  of  the  original  under  some  "especial 
aspect." 


150  STYLE  AND  INDIVIDUALITY. 

CHAPTER  XXXIII. 

STYLi:    AND    INDIVIDUALITY. 

O  TYLE  and  individuality  is  a  result  of  knowledge, 
a  knowledge  of  nature,  composition,  effects  of 
lights  and  shades  and  masses,  expression  and  individual 
temperament.  Art  is  to  please,  and  an}^  style  is  a  suc- 
cess inasmuch  as  it  has  the  power  of  pleasing,  no  law 
being  laid  down.  An  artist's  style  is  his  manner  of  ex- 
pressing his  inward  self  brot  out  in  his  productions. 
Style  and  individuality  cannot  be  taught.  Happy  is 
the  person  who  has  found  these.  The  first  essential 
is  technique,  next  a  thot,  then  that  thot  fully  expressed. 
"Homer  sang  poetry,  Milton  dictated  it,  Coleridge 
dreamed  it,  Goethe  wrote  it ;"  it  is  the  poetry  that  is 
judged  and  not  how  it  was  produced.  One  of  the  great- 
est masters  in  art  painted  with  a  palette  knife,  another 
with  his  fingers,  another  looks  as  tho  he  painted  with  a 
trowel  or  even  a  white-wash  brush,  but  what  matters 
that  so  the  result  is  effected.  There  are  comparatively 
few  photographers  who  have  much  originality  or  in- 
genuity for  effects  or  treatment.  The  general  pho- 
tographers are  mostly  copyists,  ready  to  take  up  "the 
latest"  style  of  print,  mount,  frame  or  what-not, 
whether  it  harmonizes  with  the  picture  and  its  effect 
or  not.  Many  copy  the  masters,  which  makes  them 
copyists.  Study  the  masters,  broaden  the  mind,  get  all 
the  possible  knowledge,  then  use  these  in  an  original 
way,  the  results  depending  very  much  on  the  tempera- 
ment and  individuality  of  the  person.    Original  thot  is 


STYLE  AND  INDIVIDUALITY.  151 

the  key-note  of  individuality  and  style,  based  on  knowl- 
edge. The  more  knowledge,  the  more  perfectly  the 
technique  is  understood,  the  more  freedom  and  ease 
is  produced  instead  of  being  labored  or  strained.  Act- 
ing thru  impulse  or  feeling  freely  and  without  re- 
straint, produces  often  the  finest  results. 

The  first  craze  among  artists  was  to  paint  things 
very  minutely,  sharp,  in  small  detail :  then  came  the 
other  extreme,  the  vague,  the  impressionistic  style,  all 
attention  to  color  impressions  and  atmosphereic  effects 
and  none  to  detail.  The  best  artists,  the  most  classic 
artists,  avoid  the  extremes  of  either,  combining  the  best 
effects  from  each.  Photography  seems  to  have  had  the 
same  extremes.  First,  a  strong  desire  for  sharpness, 
and  extremely  so,  then  the  other  extreme  of  fuzziness, 
having  no  definition  at  all,  all  sacrificed  for  atmosphere. 
Now  the  photographer  is  doing  as  the  artist, — com- 
bining the  best  features  of  both  extremes.  Extreme 
sharpness  does  destroy  atmosphere,  beyond  a  doubt ; 
it  produces  a  hardness,  losing  the  invisible,  intangible 
something  that  surrounds  and  beautifies  the  whole. 

Nature  contains  a  softness  that  the  lens  too  often 
fails  to  produce.  Poor  lenses  produce  pictures  devoid 
of  atmosphere.  It  is  not  always  the  fault  of  the  lens, 
but  the  handling  of  the  lens  and  the  chemicals.  Then 
again,  nature  under  certain  conditions,  at  break  of 
day  or  eventide  is  very  indistinct  and  hazy,  great 
care  is  necessary  in  representing  these ;  to  get  a  proper 
effect  the  soul  of  the  artist  is  necessary  to  express  it 
at  its  fullest.  Corot,  a  modern  artist,  produced  these 
grandly,  but  he  understood  nature's  moods,  his  was 
perfect  sympathy  with  her.     Do  not   follow   "fads." 


152  STYLU  AND  INDIVIDUALITY. 

Have  as  a  star  the  ideal,  realism.  Work  fearlessly, 
know  what  is  wanted  and  do  it,  without  being  con- 
trolled by  others'  tastes.  Notice  how  great  men  were 
criticised  and  how  recognized  later  on. 

A  fine  picture  contains  sentiment,  feeling,  good 
tone-values,  atmosphere  and  last,  but  not  least,  it 
suggests  something.  The  picture  need  not  be  so  sharp 
that  every  hair  on  the  head  or  the  leaves  of  a  tree  be 
counted.  Why  is  often  a  mere  sketch  beautiful  and 
interesting,  and  very  often  more  interesting  than  the 
finished  picture  ?  Simply  because  it  is  so  suggestive,  it 
leaves  something  for  the  imagination,  which  only  too 
sadly  is  destroyed  by  detail  upon  detail ;  the  unexplain- 
able  something  that  is  recognized  by  one  of  taste,  feel- 
ing or  a  trained  eye.  Throwing  a  negative  out  of 
focus  does  not  produce  a  work  of  art.  If  properly 
handled,  diffusion  of  focus  gives  the  highest  qualities, 
by  this  is  positively  not  meant  the  fuzzytype  picture, — 
know  nature;  tho  a  fuzzy  picture  is  sometimes  a  suc- 
cess. 

There  is  much  more,  greatly  much  more  art  in  the 
handling  of  the  lens  than  is  recognized  or  even  under- 
stood by  the  masses.  A  well  handled  negative  as  to  fo- 
cusing alone,  gives  depth,  perspective,  atmosphere  and 
is  suggestive  of  ideas  far  more  like  nature  itself  in 
softness  than  sharply  focused,  because  of  the  mi- 
croscopic detail  produced  by  the  lens,  further  than  na- 
ture is  seen  by  the  human  eye. 

The  better  work  over  the  country  often  is  made  on 
rough  papers,  such  as  platinotype,  heavy  matt  papers 
or  drawing  papers,  and  why  ?  All  say,  "It  gives  a  more 
artistic  effect,"  and  why?     Because  it  softens  down 


STYLE  AND  INDIVIDUALITY.  153 

detail,  breaks  it  up,  thereby  producing  more  sim- 
plicity and  harmony,  leaving  more  to  the  imagina- 
tion, more  suggestive  in  effect. 

There  is  no  limitation  to  the  individuality  or  style 
that  can  be  obtained  in  the  print  to  the  varied  methods 
used.  The  picture  can  be  molded  into  whatever  the 
taste  desires.  It  is  possible  to  eliminate,  correct,  supply 
or  use  color  or  a  combination  of  colors  to  carry  out  the 
idea.  The  glycerine  process  has  no  limitations  by  the 
hand,  who  can  subdue  or  enhance  to  produce  beauty. 
It  is  full  of  possible  varieties  to  suit  the  taste.  Imagi- 
nation is  most  necessary  to  picture  making. 

The  artists  found  that  by  much  criticism  and  thot 
that  pictures  represented  quite  distinctly  without  vague- 
ness was  the  highest  art,  the  photographer  has  had 
to  come  to  the  same  standard  to  also  produce  the 
highest.  Nature  is  not  all  nature,  that  is  plainly  seen, 
but  the  seemingly  invisible,  the  latter  lying  more  in 
suggestion,  has  its  grand  charms.  It  must  me  sought 
for,  studied,  felt  before  it  is  even  known  to  exist. 
There  are  many  painters,  but  few  masters;  there  are 
many  photographers,  but  few  masters.  Why?  Because 
of  this  intangible,  subtle,  indefinable  art,  "A  gift  of  the 
gods,"  is  most  difficult  of  expressing. 

Poetry,  art  or  photography  has  its  own  means  of 
expression,  and  each  is  responsible  for  its  own  and  no 
other.  Get  out  of  the  lens,  the  plate,  the  paper,  the 
highest  and  best  there  is  in  them.  Thru  these  the  pho- 
tographer is  enabled  to  translate  his  individuality  or 
style  that  suits  his  temperament.  The  lens,  plate  and 
paper  are  not  life,  light  and  shade,  feeling  or  atmos- 
phere.    These  latter  are  created,  coming  from  under 


154  style;  and  individuality.  i 

the  hand,  not  from  the  lens,  chemicals  or  paper ;  these 
are  agents  used  to  put  man's  ideas  into  something 
tangible  and  visible. 

Of  the  masters  of  art  each  expressed  his  own  indi- 
viduality in  his  own  way.  Michael  Angelo,  Raphael, 
Murillo  and  Leonardo  da  Vinci  were  painters  of  the 
ideal  style.  Corot  is  a  good  example  of  combining 
idealism  with  truth  to  nature  and  not  sharp  detail.  He 
painted  mostly  morning  and  evening  scenes,  made 
himself  famous  in  the  vaporous  and  misty  air  effects; 
Rembrandt  for  expression  and  light  and  shade.  Leigh- 
ton  in  his  picture  "Solitude"  expressed  power,  breadth, 
softness  of  effect  and  spirituality.  The  master  of  any 
one  of  these  would  make  the  fame  of  a  painter.  Men 
of  this  kind  were  content  to  follow  out  their  individu- 
alities and  pay  no  attention  to  "fads,"  knowing  what  is 
true  and  good,  striving  for  their  ideals  and  remaining 
faithful  to  these  that  have  made  all  good  and  lasting 
pictures  of  the  world. 

A  wise  photographer  would  do  likewise.  Be  con- 
tent to  express  one  thing  grandly.  Look  over  the  work 
of  the  photographers,  notice  if  their  notoriety  has  not 
resulted  from  high  individualism  and  style.  To  get 
an  idea  of  the  styles  of  some  of  the  great  masters, — 
"there  is  the  grand  style  of  IMichael  Angelo  and  Velas- 
quez, the  majestic  style  of  Leonardo,  the  beautiful 
style  of  Raphael,  Andrea  del  Sarto  and  Corregio,  the 
ornate  style  of  Titian  and  Tintoretto,  the  passionate 
style  of  Delacroix,  the  dignified  style  of  Fromentin, 
the  classic  style  of  David,  Ingress  and  Bouguereau,  the 
poetic  style  of  Millet  and  Corot,  the  brilliant  style 
of  Fortuny,  the  strong  style  of  Vollon  and  Bonnat,  the 


STYIvi;  AND  INDIVIDUALITY.  155 

insipid  style  of  Meyer  von  Bremen,"  and  many  other 
styles,  some  of  which  are  not  worthy  of  mention,  each 
shows  clearly  the  inward  self  of  the  individual.  In 
passing  judgment  on  a  picture  one's  own  temperament 
will  be  shown  very  much  according  as  to  one's  likes 
and  dislikes,  either  to  the  stronger  styles  or  weaker 
ones.  Always  strive  to  understand  what  the  artist 
meant  to  convey.  Do  not  denounce  one  artist  because 
he  is  not  like  another. 

In  examining  a  photographic  picture,  look  for 
general  effect  of  photographic  technique,  with  masses 
and  effect  of  light  and  shade.  A  thorough  knowledge 
of  these  is  essential.  A  person  may  have  imaginative 
powers,  a  creative  ingenuity  and  be  a  deep  thinker,  and 
if  he  have  not  this  fundamental  knowledge  of  what 
would  it  all  avail? 

The  individuality  of  style  is  brot  to  notice  whether 
it  is  looked  for  or  not.  If  this  individuality  exists  very 
strongly,  that  it  holds  the  spectator,  it  is  more  often 
called  genius.  The  more  the  scientific  and  artistic 
side  of. photographic  technique  is  understood  and  the 
more  the  laws  or  principles  of  art,  composition,  ex- 
pression, feeling,  sentiment  are  transferred  into  the 
picture,  the  more  individualism  will  be  pronounced. 

An  individual's  work  is  the  record  of  his  life.  The 
power  Michael  Angelo  displayed  in  his  productions  is 
but  the  power  he  possessed  in  his  individual  character. 
"Raphael's  character  was  as  beautiful  and  fair  as  his 
Sistine  Madonna."  It  is  the  picture  filled  with  life, 
flowing  from  the  inward  soul  and  not  simply  the  ex- 
pression of  the  tools  used.  It  is  the  indefinable  some- 
thing so  requisite  to  picture-making. 


156 


STYLE  AND  INDIVIDUALITY. 


Emerson  says,  "He  who  knows  the  most,  he  who 
knows  what  sweets  and  virtues  are  in  the  ground,  the 
waters,  the  plants,  the  heavens,  and  how  to  come  at 
these  enchantments,  is  the  rich  and  royal  man.  Only 
as  far  as  the  masters  of  the  world  have  called  in  na- 
ture to  their  aid,  can  they  reach  the  height  of  magnifi- 
cance." 


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